Canarie

from Wikipedia, the free encyclopedia

The Canarie (also: Canaris or Canaries (French); Canario (Italian), Canarios (Spanish), Canary (English)) is a lively dance in triple time (three-quarters or six-eight time) that spread from the 16th to the 18th century and occasionally found its way into the baroque suite.

Origins

The Canary is said to have its origin in the Canary Islands , from where it came to Spain through Canarian slaves in the 16th century and was further developed there. From Diego Pisador it is 1552 mentioned as dance funerals. In the Canarian Canarios, which danced into the 20th century, two rows of dancers stood opposite each other, who approached and moved away from each other and made small jumps. According to Walther (1732), this is where the name, shortened from the Latin "Saltatio Canariensis", comes from.

Early choreographies for the Canario are recorded in the books of the Italian dance masters Cesare Negri , Fabritio Caroso and Livio Lupi di Caravaggio . The French Thoinot Arbeau also describes this dance in his orchésography in 1589 , but the melody he has passed down is in straight Allabreve time and bears no resemblance to the later Baroque Canarie. While other dances such as the Gaillarde and the Courante in the late Renaissance period were characterized by the usual sequence of steps, the Canario was largely free to improvise.

Baroque

The baroque canary is a happily moving dance similar to the gigue . Perhaps the most famous example of an Italian Canario for chitarrone comes from Girolamo Kapsberger ( Libro IV , 1640) - a virtuoso piece about a recurring basso ostinato consisting of only three tones . Also extremely popular is a Canario or Canarios for the Spanish (baroque) guitar by Gaspar Sanz from his Instrucción de Música sobre la Guitarra Española (Saragossa, 1674, such as in Luz y Norte (1677) in the tablature book by Lucas Ruiz de Ribayaz can be found. Both pieces have a flowing, virtuoso character similar to the Italian Giga . The Canarie can also be found as a composition by anonymous composers.

Chambonnières, Canaris (detail), Les Pièces de Clavessin, Livre I , 1670

The canary found a certain international distribution in its French form as a special type of the French gigue in dotted 3/4 or 6/4 time, and later in 3/8 or 6/8 time, which consists of two reprises . A prelude consisting of an eighth and a quarter (3/4 and 6/4) or a sixteenth and an eighth (3/8 or 6/8) is typical, but there are exceptions, e.g. B. without a start. The pace of the canary tended to be even faster than that of the gigue (e.g. after Türk 1789). Affilard indicates their pace with dotted quarter = 106 MM; Johann Joachim Quantz recommends a significantly faster pace (160 MM). Regarding the style of playing, he writes that it is played on the violin with a short and sharp bow stroke. In addition, the dotted notes would have to be strongly accentuated. The canarie, however, remained a rather rare dance, it was never really in fashion, probably because of its great resemblance to the gigue “à la française”, and because of its rather narrow style and expressiveness.

There are isolated examples in France from the lutenist Ennemond Gaultier , and from the Clavecinists Chambonnières (1670), Louis Couperin , Nicolas Lebègue (1677), Elisabeth Jacquet de la Guerre (1687), François Couperin (1713). There are examples from incidental music: B. in André Campras Opéra-ballet L'Europe galante (1697), and in England in Henry Purcell's Semi-Operas Dioclesian and The Indian Queen (1695). In Germany you can find them from time to time with Francophile composers like Johann Caspar Ferdinand Fischer (in: Journal du Printemps 1695, and Musicalisches Blumenbüschlein , 1696/98), or in some overture suites by Georg Philipp Telemann , who z. B. at the end of his Wassermusik Hamburger Ebb und Fluth from 1723 lets "the funny boat people" dance a canary.

As mentioned above, the dance itself is characterized by numerous jumps and, according to Curt Sachs, was considered difficult. From the beginning of the 18th century, some canary choreographies in the notation of Raoul-Auger Feuillet have come down to us.

“Some say that this dance is used in the Canary Islands and that it is quite normal there; Others, whose opinion I would rather share, claim that it has its origin in a ballet for a masked ball, where the dancers were disguised as kings and queens of Mauritania, or in the manner of savages, with brightly colored plumes in various colors ... . "

- Thoinot Arbeau : Orchésographie, 1589

“... the Canary Islands must have great desire and urgency with them; but sound a little simple-minded. "

- Johann Mattheson : The perfect Capellmeister, 1739

swell

literature

  • Thoinot Arbeau, Orchésographie et Traicté en forme de dialogue, par lequel toutes personnes peuvent facilement apprendre & practiquer l'honneste exercice des dances , Langres: Jehan des Preyz, 1589 / réedition 1596, (privilège daté du 22 November 1588) / réédition posthume: 1596 = orchésography. Reprint of the 1588 edition. Olms, Hildesheim 1989, ISBN 3-487-06697-1 .
  • Curt Sachs: A world history of dance . Olms, Hildesheim, 3rd edition 1992 (= reprint of the 1933 edition).
  • Volker Saftien: Ars saltandi. European ballroom dancing in the Renaissance and Baroque periods. Hildesheim 1994. ISBN 3-487-09876-8 , pp. 213-217
  • Daniel Gottlob Türk: "Die Canarien ...", in: Klavierschule , Leipzig & Halle 1789, p. 400. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (seen on 13. August 2017).

grades

  • Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  • François Couperin, Pièces de Clavecin , 4 vols., Ed. by Jos. Gát, Mainz et al .: Schott, 1970–1971.
  • Manuscript Bauyn (3 vols.), ... , deuxième partie: Pièces de Clavecin de Louis Couperin , ..., Facsimile, prés. by Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.
  • Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument (including: " Blumenbüschlein " (1698)), publ. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901).
  • Elisabeth Jacquet de la Guerre, Pièces de Clavecin qui peuvent se jouer sur le violon, 1707, Facsimile, prés. par Catherine Cessac et J. Saint-Arroman, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2000.
  • Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995.
  • Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann (n.d.).

Recordings

  • "Vieux" Gaultier - Pièces de luth , Hopkinson Smith, published by: astrée, 1987 (CD).
  • Baroque Lute Music Vol. 1: Giovanni Girolamo Kapsberger , with Paul O'Dette - 10-course lute & chitarrone, published by: harmonia mundi, 1990/2001.
  • Johann Caspar Ferdinand Fischer, " Le Journal du Printemps ", L'Orfeo Barockorchester, Michi Gaigg, published by: cpo, 2005 (CD).
  • Handel, Telemann - Watermusic , The King's Consort, Robert King, published by: Hyperion, CDA66967 (rec. 1997) (CD).

Web links

Youtube films:

Early texts on the canary:

Remarks

  1. ↑ José Carlos Delgado Díaz: The Folk Music of the Canaries. Publicaciones Turquesa, Santa Cruz de Tenerife 2004, ISBN 84-95412-29-2 , pp. 19 and 133
  2. ^ A b Johann Gottfried Walther : Musical Lexicon [...]. Wolffgang Deer, Leipzig 1732, p. 132
  3. ↑ Thoinot Arbeau, Orchésographie et Traicté en forme de dialogue, ..., Langres: Jehan des Preyz, 1589 / réedition 1596, f. 95v (beginning of description) and f. 96r ( melody and steps).
  4. ^ In: Girolamo Kapsberger, Libro Quarto d'Intavolatura di Chitarrone , Rome 1640.
  5. ^ Frank Koonce: The Baroque Guitar in Spain and the New World. Mel Bay Publications, Pacific, Mon. 2006, ISBN 978-078-667-525-8 , pp. 29 and 36 f.
  6. ^ Instrucción de música sobre la guitarra española y métodos de sus primeros rudimentos hasta tañer con destreza . - “Musical instruction for the Spanish guitar and methods, from its earliest beginnings to playing with skill”.
  7. ^ Siegfried Behrend (Ed.): Old Spanish Lute Music (= Old European Lute Music for Guitar. Issue 3). Freely edited and ed. by Siegfried Behrend. Musikverlag Hans Sikorski, Hamburg 1959 (= Edition Sikorski. No. 527), pp. 6–8, here: p. 8 ( Canarios ).
  8. ↑ cf. for example Adalbert Quadt (Ed.): Guitar music from the 16th to 18th centuries Century. 4 volumes. Deutscher Verlag für Musik, Leipzig 1970–1984, Volume 3, p. 36 ( Canarie around 1700).
  9. ↑ Daniel Gottlob Türk: Die Canarien… , in: Klavierschule , Leipzig & Halle 1789, p. 400. See IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (viewed on August 13, 2017) .
  10. ↑ This is a rather early, very cultivated piece without a prelude, and not yet in the typical later canary style. To hear z. B. on the CD: "Vieux" Gaultier - Pièces de luth , Hopkinson Smith, published by: astrée, 1987 (CD).
  11. ↑ Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967, pp. 61f.
  12. ↑ Manuscript Bauyn (3 vol.),… , Deuxième partie: Pièces de Clavecin de Louis Couperin , ..., Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, (vol. 2) p. 70.
  13. ↑ In Suite No. 1 in d la re sol. See: Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995, p. 15f.
  14. ^ In the suites in D and in F of the Premier Livre . Élisabeth Jacquet de la Guerre, Les Pièces de Clavecin - Premier Livre, 1687, Facsimile,…, Courlay: Édition JM Fuzeau, 2000, p. 15f (D minor) and p. 74f (F major).
  15. ↑ A 'Canaries' without a prelude and with a double in the second order in D / D. See: François Couperin, Pièces de Clavecin , Vol. 1, ed. by Jos. Gát, Mainz et al .: Schott, 1970, p. 47f.
  16. ↑ The Canary of the Indian Queen is also available in transcriptions for harpsichord or spinet. See: Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann (n.d.), p. 28f.
  17. ^ In the orchestral suite No. 8 in C of the Journal du Printemps (Augsburg, 1695), and in the harpsichord suite No. 2 in F of the Blumenbüschlein . (See the CD: Johann Caspar Ferdinand Fischer, Le Journal du Printemps , L'Orfeo Barockorchester, Michi Gaigg, published by: cpo, 2005).
  18. ↑ "The funny boat people" is the additional title of this canary. Another example is e.g. B. also in the overture suite TWV 55: d3. Exactly the other way around at the penultimate position before the jig.
  19. ^ Curt Sachs: A world history of dance . Olms, Hildesheim, 3rd edition 1992 (= reprint of the 1933 edition).
  20. ↑ Aulcuns serves qu'és Isles des Canaries on use de ceste dance, & qu'elle leur est ordinaire: Aultres, de l'opinion desquels jaymerois mieux estre, soustiennent qu'elle a pris source d'un ballet composé pour une mascarade, ou les danceurs estoient habillez en Roys & Roynes de Mauritanie, ou bien en forme de Sauvages, avec plumaches teintes de diverse couleurs.