The sarabande (from Spanish : zarabanda) is a dance in triple metre, or the music written for such a dance.
The sarabande (from Spanish : zarabanda) is a dance in triple metre, or the music written for such a dance.
The Sarabande evolved from a Spanish dance with Arab influences, danced by a lively double line of couples with castanets. [1] [2] A dance called zarabanda is first mentioned in 1539 in Central America in the poem Vida y tiempo de Maricastaña, written in Panama by Fernando de Guzmán Mejía. [3] [4] In 1596, Alonso López, "el Pinciano", traces its origins even to the cult of Dionysus. The dance seems to have been especially popular in the 16th and 17th centuries, initially in Spain and in the Spanish colonies.
The Jesuit priest Juan de Mariana thought it indecent, describing it in his Tratato contra los juegos públicos (Treatise Against Public Amusements, 1609) as "a dance and song so loose in its words and so ugly in its motions that it is enough to excite bad emotions in even very decent people". [5] A character in an entremés by Cervantes alluded to the dance's notoriety by saying that hell was its "birthplace and breeding place" (in Spanish: origen y principio). [6] [7] It was banned in Spain in 1583 but was nevertheless still performed and frequently cited in literature of the period (for instance, by Lope de Vega). [3]
It spread to Italy in the 17th century, and to France, where it became a slow court dance. [5]
The sarabande was used throughout much of classical music, especially in the baroque era: for example, the music of French baroque composer Jean-Marie Leclair (born 1697): Sonata for 2 violins in D major Op.12 no.3; and Buxtehude's Trio Sonata in E minor Op.1/7 BuxWV 258, an extraordinary work with this sarabande style, most likely influencing later baroque composers such as Handel and Bach, who also have notable works using the same theme.
Baroque musicians of the 18th century wrote suites of dance music in binary form that typically included a sarabande as the third of four movements. It was often paired with and followed by a jig or gigue. [8] Bach sometimes gave the sarabande a privileged place in his music, where it is often the heart of his suites for cello or keyboard. And outside the context of dance suites, striking examples include the theme and the 13th and 25th variations from Bach's Goldberg Variations; and the final movements of both the St. John and St. Matthew Passions.
The anonymous harmonic sequence known as La Folia appears in pieces of various types, mainly dances, by dozens of composers from the time of Mudarra (1546) and Corelli through to the present day, [9] custom perhaps influenced by its Spanish origin. The theme of the fourth-movement Sarabande of Handel's Keyboard suite in D minor (HWV 437) for harpsichord, one of these many pieces, appears prominently in the film Barry Lyndon . [10]
The sarabande was revived in the 19th and early 20th centuries by the German composer Louis Spohr (in his Salonstücke, Op. 135 of 1847), Norwegian composer Edvard Grieg (in his Holberg Suite of 1884), French composers such as Debussy and Satie, and in England, in different styles, Vaughan Williams (in Job: A Masque for Dancing ), Benjamin Britten (in the Simple Symphony ), Herbert Howells (in Six Pieces for Organ: Saraband for the Morning of Easter), and Carlos Chávez in the ballet La hija de Cólquide .
The sarabande inspired the title of Ingmar Bergman's last film Saraband (2003). The film uses the sarabande from Bach's Fifth Cello Suite, which Bergman also used in Cries and Whispers (1971). [11]
A chaconne is a type of musical composition often used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offers a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. It originates and was particularly popular in the Baroque era; a large number of Chaconnes exist from the 17th- and 18th- centuries.
A suite, in Western classical music, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes; and grew in scope so that by the early 17th century it comprised up to five dances, sometimes with a prelude. The separate movements were often thematically and tonally linked. The term can also be used to refer to similar forms in other musical traditions, such as the Turkish fasıl and the Arab nuubaat.
An allemande is a Renaissance and Baroque dance, and one of the most common instrumental dance styles in Baroque music, with examples by Couperin, Purcell, Bach and Handel. It is often the first movement of a Baroque suite of dances, paired with a subsequent courante, though it is sometimes preceded by an introduction or prelude. Along with the waltz and ländler, the allemande was sometimes referred to by the generic term German Dance in publications during the late 18th and early 19th centuries.
The rondo is a musical form that contains a principal theme which alternates with one or more contrasting themes, generally called "episodes", but also occasionally referred to as "digressions" or "couplets". Some possible patterns include: ABACA, ABACAB, ABACBA, or ABACABA.
A prelude is a short piece of music, the form of which may vary from piece to piece. While, during the Baroque era, for example, it may have served as an introduction to succeeding movements of a work that were usually longer and more complex, it may also have been a stand-alone piece of work during the Romantic era. It generally features a small number of rhythmic and melodic motifs that recur through the piece. Stylistically, the prelude is improvisatory in nature. The term may also refer to an overture, particularly to those seen in an opera or an oratorio.
The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso.
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these.
Johann Caspar Ferdinand Fischer was a German Baroque composer. Johann Nikolaus Forkel ranked Fischer as one of the best composers for keyboard of his day; however, partly due to the rarity of surviving copies of his music, his music is rarely heard today.
Neoclassicism in music was a twentieth-century trend, particularly current in the interwar period, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music.
In music, an intermezzo, in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history, the term has had several different usages, which fit into two general categories: the opera intermezzo and the instrumental intermezzo.
Saraband is a 2003 Swedish drama film directed by Ingmar Bergman, and his final film. It was made for Swedish television, but released theatrically in a longer cut outside Sweden. Its United States theatrical release, with English subtitles, was in July 2005. The Swedish television version is 107 minutes, while theatrical releases run just under 2 hours.
Francisco Bartolomé Sanz Celma, better known as Gaspar Sanz, was a Spanish composer, guitarist, and priest born to a wealthy family in Calanda in the comarca of Bajo Aragón, Spain. He studied music, theology and philosophy at the University of Salamanca, where he was later appointed Professor of Music. He wrote three volumes of pedagogical works for the baroque guitar that form an important part of today's classical guitar repertory and have informed modern scholars in the techniques of baroque guitar playing.
Manuel María Ponce Cuéllar, known in Mexico as Manuel M. Ponce, was a Mexican composer active in the 20th century. His work as a composer, music educator and scholar of Mexican music connected the concert scene with a mostly forgotten tradition of popular song and Mexican folklore. Many of his compositions are strongly influenced by the harmonies and form of traditional songs.
La Folía (Spanish), or Follies (English), also known as folies d'Espagne (French), La Follia (Italian), and Folia (Portuguese), is one of the oldest remembered European musical themes, or primary material, generally melodic, of a composition, on record. The theme exists in two versions, referred to as early and late folias, the earlier being faster.
Musical historicism signifies the use in classical music of historical materials, structures, styles, techniques, media, conceptual content, etc., whether by a single composer or those associated with a particular school, movement, or period.
The Overture in the French style, BWV 831, original title Ouvertüre nach Französischer Art, also known as the French Overture and published as the second half of the Clavier-Übung II in 1735, is a suite in B minor for a two-manual harpsichord written by Johann Sebastian Bach.
Orchestral Suite No. 1 in D minor is an orchestral suite, Op. 43, written by Pyotr Ilyich Tchaikovsky in 1878 and 1879. It was premiered on December 20, 1879 at a Russian Musical Society concert in Moscow, conducted by Nikolai Rubinstein. The piece is dedicated to Tchaikovsky's patroness, Nadezhda von Meck.
The term galanteries is sometimes used for movements in the Baroque dance suite whose inclusion is variable, unlike the fixed core of allemande, courante, sarabande and gigue. These pieces usually follow the sarabande.
The six partitas for solo violin by Johann Paul von Westhoff are the earliest known published music for solo violin. Although Westhoff's compositions were rediscovered by scholars already in the mid-19th century, this work was not found until the late 20th century.
Baroque music refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". The works of Antonio Vivaldi, George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, Gaspar Sanz, José de Nebra, Antonio Soler, Carlos Seixas, Adam Jarzębski and others, with Giovanni Battista Pergolesi being the most prominent Baroque composer of sacred music.
