sarabande dance history

Both Dupré and Glover were accomplished exponents of Did the saraband really disappear from the London stage after 1742?Anthony L’Abbé. The Sarabande is a dance in triple meter. Is there a direct link between the two passages? Note the pirouette on both feet with a full turn towards the end of this section.A remark on the radio, describing  the saraband as ‘slow and stately’ prompted me to take a closer look at this dance type.

The sarabande from Spanish zarabanda is a dance in triple metre. The Spanish name La Zarabanda sounds much like the Persian "Sar-Band" (headdress wreath), but is not linked to this. The dance was a group dance mainly done by women. Charles II and his court were certainly committed patrons of the theatres, after they legally reopened with the patents granted to Davenant and Killigrew in 1660. He was then one of the leading male dancers in the company, while Mrs Wall seems to have been a promising newcomer (she disappeared from the bills within just a few years). Before 1650 the music was some what faster than the later slower more noble and stately French versions due to Louis XIV weight and size. When it was introduced to France, the dance included men who would dance it with the tambourine, which was considered effeminate in those days. The dance was considered a highly sensual, wild and exotic dance in nature.It became a traditional movement of the suite during the baroque period, usually coming directly after the Courante. The Sarabande (meaning noise) was of Moorish origin and came from Spain in the 12th.

The earlier dance apparently originated in Germany but became fashionable both at the French court (whence its name, which in French means “German”) and in England, where it was called almain, or almand. Contents. I admit to being very tired of hearing the expression ‘slow and stately’ in relation to the very varied ballroom and theatre dances of the late 17There are at least 27 surviving choreographies labelled as sarabands, to which can be added four There is, of course, much more to the saraband as a dance. This slower, less spirited interpretation of the dance form was codified in the writings of various 18th century musicologists; Johann Gottfried Walther wrote in his Musicalisches Lexicon (Leipzig, 1723) that the sarabande is "a grave,...somewhat short melody," and Johann Mattheson likewise wrote in Der Vollkommene Capellmeister (Hamburg, 1739) that the sarabande "expresses no passion other than reverence." People who even sang it were arrested, lashed, and exiled in its younger days.The steps have not been documented to well over time and the only ones that are go like this (¾ time): The chief step consisted of a quick shift from toe-out to toe-in while the rest were slow glides. The Sarabande de Mr. Feuillet for a man, also with unidentified music, has 48 bars. 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. How would their audiences have seen and interpreted this dance? Both dancers were trained in French dancing, The first saraband duet was advertised for a performance at Lincoln’s Inn Fields Theatre on 5 May 1724.

that these dances were both admired and shunned by Europeans in their earliest forms. I was interested to come across dancing Spaniards in Dryden’s Undoubtedly more influential in later years, although we lack direct musical evidence, was Lully’s score for So, there are some clues to the nature of performances by dancing ‘Spaniards’ during the late 17The first saraband to be advertised as an entr’acte dance on the London stage was danced, together with a ‘Jig’, by the actress Elizabeth Younger at Drury Lane on 3 May 1714. The earliest mention of a saraband I have encountered appears in Sir William Davenant’s ‘… a saraband is played, whilst two Spaniards enter from the opposite sides of the scene, exactly clothed and armed according to the custom of their nation and, to express their triumph after the victory over the natives, they solemnly uncloak and unarm themselves to the tune and afterwards dance with castanets.’Did John Dryden draw on one or the other (or both) of these for the scene in his The context for the dance, with its unarmed Spaniards, is strikingly similar to Davenant’s in Here is a Spaniard dancing with castanets from a much earlier work. I keep coming across references to sarabands in plays from the Restoration period.

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sarabande dance history