Do you really mean to say that the tempo of a dance played on, say, the
lute has no relationship whatsoever to the tempo at which
contemporaries actually danced it?
MH
__________________________________________________________________
From: Ron Andrico <[email protected]>
To: Thomas Walker <[email protected]>; "[email protected]"
<[email protected]>
Sent: Tuesday, 16 December 2014, 20:55
Subject: [LUTE] Re: those sarabands
Hello Thomas:
A good modernish source of information can be found in D. J. Buch,
"The
Influence of the Ballet de cour in the Genesis of the French Baroque
Suite," Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun., 1985), pp.
94-109. The saraband is discussed on page 102.
Since so much 17th-century lute music consisted of boiled-down
versions
of popular dance tunes, it important to know how a particular dance
worked in it's original context. Then one has to realize that, since
lutes are and were inaudible when dancer's feet scrape the floor, the
music is adapted and performed in whatever manner the player wishes.
RA
> Date: Mon, 15 Dec 2014 14:03:13 -0600
> To: [1][email protected]
> From: [2][email protected]
> Subject: [LUTE] those sarabands
>
> Greetings all--
> I know the sarabande was originally a lively ditty which morphed
pretty
> thoroughly by the late 17th century. I have a question about the
> middle ground, in particular the sarabandes found in Ballard's
prints
> from the 1630s, though. Many seem to "work" whether played lively
or
> stately, and I know of an old Bailes recording where he positively
> burns through a sarabande by Mesangeau. I also have played
sarabands
> in ensemble works by Jenkins et al that demanded a lively reading.
> The question is, what textual evidence do we have for expected
tempi
of
> sarabandes of the French school 1610-1640?
> Thank you kindly,
> Thomas Walker, Jr.
>
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References
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2. file://localhost/net/people/lute-arc/L10273-6162TMP.html
3. file://localhost/net/people/lute-arc/L10273-6162TMP.html
