Jig

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The Gigue (French [ ʒiːɡ ], Italian Giga [ d͡ʒiːɡa ], English Jig [ d͡ʒɪɡ ], Gigge or Gique , Spanish Jiga ) is a lively, cheerful dance from the 17th and 18th centuries, which is usually in two parts . Originally it was in 3/4 or 6/4 time, from the second half of the 17th century also in 3/8, 6/8 or 12/8. The jig spread from the British Isles , where there were melodies and dances known as jig as early as the 15th century . It was one of the four basic dances of the suite , along with the Allemande , Courante and Sarabande . In the high and late baroque periods, a distinction was made primarily between the French gigue and the Italian giga.

According to Rousseau , it was “completely out of style” in both Italy and France in 1768 ( Dictionnaire de musique , Paris 1768).

Origin of name

The medieval Italian Giga and French Gigue was a string instrument (Middle High German GigE , violin). On the other hand, the word is derived from the old French giguer - to romp around, and thus comes close to the antics clad in verse that was called jig in England in the 16th century .

National characteristics

England

In the English literature of the sixteenth century there are references to the jig, which indicate a pantomime dance with quick steps. Furthermore, in England of the Elizabethan epoch there was a form of improvised farce, which was called jigg , and besides comical fencing scenes and clowning of all kinds also contained sung and danced jigs, about whose music and dance little is known. It is known, however, that verses to popular melodies and grotesque dances were sung, some of which have come down to us. The first famous clown of these stage jiggs was William Kempe .

John Bull, A Gigge "Doctor Bull's my selfe" , Fitzwilliam Virginal Book

In English instrumental music of the early 17th century , dances and sets of variations entitled Gigg (e) or Jig can be found in collections such as the Fitzwilliam Virginal Book , William Byrd's My Ladye Nevells Booke , or in Anthony Holbornes The Cittharn Schoole . These dances have very different characteristics and time signatures. Three to four gigges in the Fitzwilliam Virginal Book already correspond to the later widespread baroque type; they are in fast 6/4 time with frequent dots and are in two parts (some with ornate reprises). Two of these pieces are by John Bull (including the famous " Doctor Bull's my selfe " in 12/4, see illustration), one by William Byrd, and an anonymous "Watkins Ale" right in front of Byrd's Gigg . There are similar dances in John Dowland's manuscripts, e.g. B. Mrs Vauxes Gigge or Mistris Winters Jumpe - very cheerful pieces that resemble a Courante or Volta in terms of form and on paper , and which probably stand out from these dances mainly through a typically English-popular tone. Another difference between these gigges and the Corant was probably an even faster, exuberant pace. The Fitzwilliam Virginal Book contains two virtuoso variation works by Giles Farnaby ( A Gigge ) and his son Richard Farnaby ( Nobody's Gigge ) in straight, but not very fast Allabreve time - these presumably popular melodies seem to have nothing to do with the dances described above in 6 / 4 to do. There were English jigs in the time signature 2/4, 2/2, 6/4, 6/8, 3/8, 9/8, 9/4.

These early forms of jig in England were considered vulgar. In Shakespeare's comedy Much Ado About Nothing there is the quote: “Wooing is hot and hasty like a Scottish jigge.” Thomas Morley excluded it from his list of the most important dance forms in 1597; Thomas Mace followed this view 80 years later. In string suites of that time, jigs stand after more serious sentences. In the second half of the 17th century, jigs intended for dance appeared in various dance and keyboard music collections, such as: B. Matthew Lockes Melothesia (1673).

In Henry Purcell is Jigs found in his theater music and his keyboard music, but only two harpsichord suites provided by its eight have one, and only in each case one of several sources. The jigs of Purcell and his contemporaries are basically similar to the early examples of Byrd and Bull (see above): They are usually in 6/4 or 6/8 time, often with dots and have a decidedly English tone, even in cases where the French custom is adopted from counterpoint imitations, such as B. in the jig from Purcell's semi-opera The Fairy Queen (1692). Some pieces also use the so-called Scotch Snab , a reversal of the typical dotted rhythm with the short sixteenth note not after, but before the dotted eighth note. A special feat is the jig from Purcell's The Gordian Knot Untied (1691?), Where the bass plays the then famous melody Liliburlero .

By the early 18th century, the jig had shed its questionable reputation. In 1711 Edward Pemberton published a collection of dances for young ladies of the higher class. It contained four jig choreographies. The music is in 6/4 time and its rhythm is similar to Purcell's jigs.

France

Nicolas Lebègue, Gigue in a mi la re (detail), Pièces de clavecin , 1677

The lutenist Jacques Gaultier , who played at the English court from 1619 to 1648, is said to have brought the gigue to France around the middle of the 17th century. It spread quickly in stylized form, but never achieved the popularity of the Courante: characteristic of the French gigue are dotted rhythms in 3/4 and 6/4 time, extravagant, irregularly long phrases, and often - but not always (!) - Imitations in the sense of a fugue. Some gigues have a so-called sauté prelude. Antoine Furetière describes her in 1690 as "cheerful and bright" ("... gaye et éveilée ...") .

Early French gigues are often characterized by great contrapuntal and rhythmic complexity, and the meter often changes between 6/4 and 3/2, almost like in the French courante. Such compositions can be found with the clavecinists Jacques Champion de Chambonnières , Louis Couperin , Nicolas Lebègue and Jean-Henri d'Anglebert . In some of his Preludes non mésuré, Louis Couperin added fugues in the style of the gigue. In French harpsichord music, the style brisé or luthé was also often used extensively , i.e. H. of an openwork, lute-like movement with chord breaks and long notes - the greatest master of this style was d'Anglebert, who also created such gigues in 12/8 time. Occasionally gigues were written in a two-part meter; Such pieces were also called allemande giguée or allemande en gigue (see below: two-lever gigues ).

From the 1680s or -90s, the gigues became a bit simpler in terms of rhythm, but dotted rhythms in 6/4 time (or less often 6/8) and sometimes contrapuntal imitations remained characteristic. In orchestral and stage music, the dances were often less contrapuntal, instead a gigue type appeared here, which is characterized by a continuous dotted three-piece rhythm and tends to have something tense or compulsive. Johann Mattheson called it "... a fiery and fleeting zeal, an anger that soon fades ...". 100 to 120 metronome beats of a dotted quarter or half note were specified as the tempo for the French gigue. There are examples from Jean-Baptiste Lully , André Campra , Pascal Collasse and Jean-Philippe Rameau and also from English or German composers (including Bach).

There were also gigues in rondo form, e.g. B. in the Pièces de clavecin by Lebègue (1677, "Gigue d'Angleterre" in G) or by Rameau (1724, see below).

In the course of the enthusiasm for Corelli and Italian music - as well as for Italian comedy - and the ensuing movement of a mixed style ( Les Gouts réunis ), the Italian giga (see below) also found its way into French music around 1700 , but was always referred to in French as "Gigue". Examples can be found u. a. in the Pièces de Clavecin by Louis-Nicolas Clérambault (1703, Suite in C minor), Elisabeth Jacquet de la Guerre (1707, Suite in D minor, 2nd gigue ), François Couperin (1713, "La Milordine" ), Rameau (1724 , Gigue I & II en rondeau ).

Italy

The Italian giga may also be derived from the English jig; however, the takeover could not be explained in detail. Originally, according to Mattheson, it was: "... not for dancing, but for violin (from which its name may come) ...". The earliest known example is the third movement of Giovanni Battista Vitali's Opus 4 from 1668. Later it is often found in sonatas and concerti da camera by Arcangelo Corelli , Bernardo Pasquini , Francesco Antonio Bonporti , Antonio Vivaldi and others. It also had a great international success, especially in Germany, and even in France, and of course it was played there on other instruments. The Italian giga usually runs in 6/8 or 12/8 time in regularly flowing triplet eighth notes. Therefore it not only looks cheerful and exuberant, but also freer and looser than the French one. The emphasis is on a concerted virtuosity, often also in the form of broken triads. The Italian giga can also appear in imitative form. There are also Italian concert movements that sound like a giga stylistically, but that don't have the typical two-part form of a dance.

Germany

Both the French gigue and the Italian giga found inclusion in German instrumental music of the Baroque period. Perhaps the first and definitely one of the most important and influential German musicians who composed many gigs was the keyboard virtuoso Johann Jakob Froberger . He apparently had a certain preference for straight-bar, imitative gigues of a somewhat 'jagged' character (e.g. in Libro IV , 1649; see below " Die Zweihebige Gigue "); however, he also regularly used the French gigue type in his music.

Otherwise it can be said that German composers chose the gigu type with great freedom which appealed to them the most depending on the 'situation' or mood, and mostly by no means committed to one type. In the nomenclature , however, almost all pieces were named in French as "Gigue" - sometimes in incorrect spelling "Gique", "Chique", and even "Guigue" - presumably because the French language and way of life were not only used in German courts, but entirely was generally the great model in the baroque era .

Typical of what has been said is z. B. Dieterich Buxtehude , who in his harpsichord suites has a preference for fugal virtuoso "gigs" in the Italian style, but often interspersed with passages in a French-looking openwork lute style. The gigs by Philipp Heinrich Erlebach in his " Sei Sonata à Violino & Viola da gamba col suo Bc " (Nuremberg, 1694) are also clearly Italian .

French and Italian gigs as well as straight-bar gigs are known from many composers, such as B. in the harpsichord music by Georg Böhm , Johann Krieger and Johann Kuhnau , or in the string partitas of the Mensa sonora (1680) by Heinrich Ignaz Franz Biber , who even brings a French and an Italian "Gigue" in "Pars V" in E, separated only by a gavotte. Even so-called Lullists occasionally wrote Italian gigs, despite their preference for the French style and type, e.g. B. Johann Kaspar Ferdinand Fischer in his harpsichord suites "Clio" and "Melpomene" ( Musicalischer Parnassus , 1738). The same applies to the ensemble and orchestral suites of Georg Muffat , Johann Joseph Fux , Philipp Heinrich Erlebach , and for their famous younger colleagues Georg Philipp Telemann , Christoph Graupner and others

Many harpsichord suites by Georg Friedrich Handel end with a virtuoso "gigue" in the Italian style, usually in 6/8 or 12/8, in one case even in a roaring 24/16 time. Some pieces are clearly fused, others 'only' a contrapuntal beautifully crafted concert movement with imitations between the voices. More rarely, and especially in ballet interludes in his stage works, there are also gigues of the French type, for example in Terpsichore from 1734.

Johann Sebastian Bach is completely in the typical German tradition described, all three types of gigue mentioned can be found. He used the French type e.g. B. in the French Overture , or in the Goldberg Variations as Variation 7 with the designation: " al tempo di giga " (sic!). In his harpsichord suites and partitas in particular, however, he had a preference for the virtuoso Italian "gigue", which he sets in a masterly contrapuntal and imitative way , often with thematic references between the first and second parts, such as reversals of the theme. Forkel already called the gigs in the English Suites No. 5 and 6 "... the highest masterpieces of original melody and harmony ...". As models he could sets of Buxtehude or by Handel have served its famous suites must have known of 1720 he, and he greatly admired (see also section below: Zweihebige Gigues ).

From a duet by Georg Philipp Telemann

There are also numerous examples by Georg Philipp Telemann in the French and Italian styles, often with the phrase Allegro or Allegro assai instead of gigue . One of his best-known (Italian) gigues is the 9th movement of his festival overture Hamburger Ebb 'und Fluth , where he masterfully depicts the undulations of the water and the rising and flowing of the sea at ebb and flow with the help of orchestral crescendo and decrescendo paint.

“The common or English giques have a fiery and fleeting zeal for their own badge, an anger that soon fades. ... Finally, the French gigs, which are not used for dancing but for violin (from which their name may also come), force themselves to be extremely quick or fleeting; but mostly in a flowing and not impetuous way: like the smoothly shooting current arrow of a stream. "

- Johann Mattheson : "VII. Die Gique ... “, in:" Der Perfekte Kapellmeister ", 1739, pp. 227–228.

Audio samples

The following two pieces were composed by Johann Sebastian Bach and Georg Philipp Telemann, respectively.

In the suite

The gigue found its way into the baroque suite as the last of the four basic dances, and its position was not yet fixed. So there are z. B. numerous suites by Froberger and Chambonnières, which consist only of Allemande - Courante - Sarabande, but in the case of the French mostly with three or two Couranten. Both composers also have examples where the gigue came in second, between Allemande and Courante. At the same time, however, there were also suites with the gigue in last place after the sarabande - in their position at the end, which is still known today from the suites and partitas of Johann Sebastian Bach. Froberger only has one partita in this order in the autograph (in Libro Secondo , 1649), two from Weckmann (approx. 1660), and it does not appear to be in Germany until the end of the 17th century, around 1675/80 to have enforced as the norm of the German piano suite. A first clear example of the suite order with a gigue at the end as the norm are the 12 suites by Benedikt Schultheiss (1679/1680), the first piano suites ever published by a German composer.

There were also suites with two jigs, e.g. B. from Chambonnières (1670), or E. Jacquet de la Guerre (1687, 1707), or from Biber in Pars V in E of his Mensa sonora (1680). In such a case, the gigs could either stand directly behind one another (Chambonnières, Suite 3 in D / D, Livre I ), or separated by another dance (Chambonnières, Suite 5 in G, Livre II ; Biber, Pars V in E, Mensa sonora ). Biber and Jacquet de la Guerre (1707) also used two different types of jigs in these cases, e.g. B. French and Italian.

When more and more dances found their way into the suite, especially in France, they were usually added after the jig. There are examples in the Pièces de clavecin by Lebègue (1677, 1687), Jacquet de la Guerre, d'Anglebert (1689), and up to François Couperin and Rameau. In France, however, the order was never completely rigid, and the jig, like the sarabande, could be absent. In the orchestral suites, which were put together from the divertissements of the operas by Lully, Campra, Destouches , Rameau and others, there was basically complete freedom: if a gigue appeared, it could be anywhere, just not in the first place.

This practice also had a great influence on the (orchestral) suites of the German Lullists up to Telemann and his successors. So is z. B. in Johann Caspar Ferdinand Fischer's Suite No. 2 in A minor of his " Journal du Printemps " (1695) the gigue is the third of five movements; in Telemann's overture suite TWV 55: D15 it is the third of eight movements, but there are also examples with the gigue in the last or penultimate position - and even more suites without it.

The Italian Giga was originally a movement from the Sonata da camera , which, like the Suite, also consisted of a series of dances. It was often the final sentence, but could also be in another position, e.g. B. Corelli's Solo Sonata op. 5, No. 9 in A, with the sequence: Preludio-Giga-Adagio-Tempo di Gavotta . In Bonporti's Invenzioni a Violino solo op. 10 (1712/13) the numbers 1 and 5 are also examples of a giga in the third position of a four- or five-movement sonata.

At Handel and even more at Joh. Seb. Bach, the Italian-influenced gigue, was the crowning and often lavish, virtuoso conclusion of her harpsichord and other solo suites in the sense of the German piano tradition, and the more modern Italian sonata da camera and the concerto; Smaller gallant dances such as Menuet, Gavotte and others were consequently mostly classified between Sarabande and Gigue. Bach himself puts the gigue at the end of his five-movement orchestral suite No. 3 BWV 1068.

choreography

In the notation of Pierre Beauchamp and Raoul-Auger Feuillet , 14 French gigues have survived. They are in 6/4 or 6/8 time; 12 of them have the characteristic prelude. The choreographies are predominantly theatrical in character. Six solo dances are performed by dancers alone. Presumably, this type of dance, like the chaconne, was preferred for women's solos.

The jig has no characteristic step combination. Each choreography is tailored to a specific piece and uses many different steps. In general, more jumps and hops are performed in the gigue than in other baroque dances. The speed of the jumps requires agility and skill. The juxtaposition of the three-way rhythm and compound step units such as the three-element fleuret and the four-element contretemps create irregularities that contribute to the light-footed impression.

Special forms

Loure and Canarie

In addition to the gigue and the giga, Johann Mattheson also included the slow, dotted loure and the canary among the variants of the gigue. He attributed a "proud, pompous being" to Loure, and he said "... the Canaries must have great desire and urgency with them; but they sound a little simple-minded". The boundaries between gigue and canary are fluid and blurred in musical reality. Many fast jigs of the French type with a continuous dotted rhythm could also be called a canary, or are actually a canary. This applies to the entire repertoire for pieces from Chambonnières to Bach and Telemann.

The double jig

Occasionally, gigues were written in a two-part meter. Apart from the aforementioned early variation works by Giles and Richard Farnaby, these are almost always artistic contrapuntal compositions with fugue imitations.

Johann Jakob Froberger, Gigue in D (detail), Fbwv 611, Libro IV , 1656

Examples of this are numerous jigs from Froberger, e.g. B. in his Libro Quarto from 1656 (see picture). Froberger could have adopted this type of two-legged jig from French lute music, especially from Ennemond Gaultier's "Le Vieux" , from which some such works have survived. In the Bauyn manuscript there is also a piece by Ètienne Richard, and two pieces by de la Barre and Joseph Chabanceau de la Barre, which were registered once as "Allemande" and another time as "Gigue" . The term allemande en gigue or allemande giguée was coined for this phenomenon (see above). This expression can also be found in England for a Jig-Almain by J. Moss in Locke's collection Melothesia (1673), and in similar pieces by Albert Bryne (approx. 1621-1617).

Two-level fugal jigs were also known after Froberger, especially in Germany, and it is possible that they were viewed as 'German jig', which is what the term "allemande giguée" (= "verjiggter Deutscher (dance)") would suggest . In the case of Froberger, there is also the fact that he was employed directly at the imperial court in Vienna or with the Habsburgs, who were political opponents and enemies of France - this could well be one reason why Froberger cultivated his own type of German gigue so extensively. Later examples provided e.g. B. Johann Krieger in six musical parts (Nuremberg 1697), Benedikt Schultheiss (1680), Johann Kuhnau (1689), Georg Böhm (suites in E-flat and in F), among others. An example in string or ensemble music is Biber's "Gigue" . Presto "Partita IV in B in" cafeteria Sonora "(1680). Two famous pieces by Johann Sebastian Bach are also in a two-lever meter, namely the gigue of the French Suite No. 1 in D minor BWV 812 and the gigue of the Partita No. 6 in E minor BWV 830, the latter in the very unusual meter of 4/2 or 2/1.

There is a theory that claims that the composers intended to translate them into triplet figures despite the two-part notation. Compositions by Froberger, which have come down to us in two different versions, are cited as arguments: two levers by the composer's hand and three levers in later, mostly French arrangements (e.g. Gigue from FbWV 607 in C time, as Threesome in 607a). The opposite thesis says that the angular, harder, 'jagged' expression of the dotted two-figure figures is intended and that these should not be forced into a three-meter meter.

In the case of Bach's Gigue of Partita No. 6, numerous subtly rhythmic eighth and sixteenth notes speak against a triplet execution, and in Bach's French Suite No. 1 several sixteenth runs at the end of the two parts (bars 11 and 26-27), which cannot be logically converted into a three-measure meter. The above-mentioned double jig by Schultheiss and at least one of the two jig by Krieger (Partita II in D minor) cannot be translated into a triple meter at all.

The same basically applies to Froberger. A special case is the gigue of his suite in D minor FbWV 613, which in some sources bears the designation: " Gigue nomée la rusée Mazarinique " (sic). This piece goes back thematically to a two-part gigue by Gaultier "Le Vieux" , and has evidently caused some confusion: It has been handed down in binary form (e.g. manuscript Bauyn , f. 48r) and ternary (including in Grimm 1698/99 ); one source even reports both versions ( Bulyowsky 1675 ), and there are also mixed versions that are in C time and some figures are noted as triplets. Towards the end of this piece, however, there is a long run of sixteen, which cannot be meaningfully translated into triplets, but which one can and should grasp at discretion (i.e. freely in time). For comparison, Froberger's gigue of the Partita in a FbWV 610 can be used, which he noted in the three meter meter, but at the end converted into a two meter meter with sixteenths.

Apart from the case mentioned with Froberger, it is by and large likely that all pieces are meant as they were written and that the two-part fugal jig was a type of its own.

Franco Canada

In Québec , Canada , a dance form very similar to today's Irish jig is called a gigue. It has practically only the name in common with the other forms described here.

literature

  • Werner Danckert : History of the Gigue. (Publications of the Musicology Department of the University of Erlangen from the Gerhard Löwenthal estate) Kistner & Siegel, Leipzig 1924.
  • Text by Ludwig Finscher on the LP: Henry Purcell, Music for the Theater (music from "Abdelazer" , "Distressed Innocence" , "The Married Beau" , "The Gordian Knot Untied" ) (LP), Academy of Ancient Music, dir. by Christopher Hogwood, published by: Decca-Telefunken, 1976.
  • Rainhard Gerlach: Gigue. In: Willibald Gurlitt : (Ed.): Riemann Musiklexikon . Material part. Schott, Mainz, 12th edition 1967.
  • Walter Kolneder: Lübbes Bach-Lexikon, Bergisch Gladbach: Bastei Lübbe, 1982.
  • Clemens Kühn : Theory of Forms in Music. Bärenreiter, Kassel, 7th edition 2004.
  • Carol G. Marsh: "Gigue", in: Music in Past and Present ( MGG ), Sachteil , Vol. 3, Kassel: Bärenreiter, 1995, pp. 1324-1329.
  • Johann Mattheson , “VII. Die Gique ... “, in: The perfect Kapellmeister 1739 , facsimile, ed. v. Margarete Reimann, Kassel: Bärenreiter, 1954 / 5th edition 1991, pp. 227–228.
  • Jean-Jacques Rousseau: "Gigue", in: Dictionnaire de musique , Paris 1768, p. 234. See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau%2C_Jean-Jacques) , seen on 12. August 2017.

grades

  • Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  • Manuscript Rés. 89 ter , Pièces de Clavecin: D'Anglebert - Chambonnières - Louis Couperin - Transcriptions de pièces pour luth , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999. (= second volume of the D'Anglebert complete edition of the Édition Fuseau).
  • Manuscrit Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières , deuxième part: Pièces de Clavecin de Louis Couperin, troisième partie: Pièces de Clavecin de divers auteurs, Facsimile, prés. by Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.
  • Heinrich Ignaz Franz Biber, Mensa sonora seu Musica instrumentalis . Salzburg 1680. In: Monuments of Tonkunst in Austria, Vol. 96, Vienna: Österreichischer Bundesverlag, 1960.
  • Georg Böhm, Complete Works for Harpsichord , ed. v. Kl.Beckmann, Wiesbaden, Breitkopf & Härtel, 1985.
  • Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  • Johann Caspar Ferdinand Fischer, Musical Parnassus (1738?), In: Complete works for keyboard instrument , ed. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901)
  • The Fitzwilliam Virginal Book (revised Dover Edition), 2 vol., Ed. by JA Fuller Maitland u. W. Barclay Squire, corrected et al. ed. by Blanche Winogron, New York: Dover Publications, 1979/1980.
  • Johann Jacob Froberger, New Edition of All Keyboard and Organ Works I ( Libro Secondo (1649)), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 1993/2002.
  • Johann Jacob Froberger, New Edition of Complete Clavier and Organ Works II ( Libro Quarto (1656) and Libro di Capricci e Ricercate (approx. 1658)), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 1995.
  • Johann Jacob Froberger, New Edition of Complete Clavier and Organ Works III ( Clavier and Organ Works of Copied Sources: Partitas and Partitas Part 1 ), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 2002.
  • Elisabeth Jacquet de la Guerre, Pièces de Clavecin, 1687, Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1997.
  • 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.
  • Johann Krieger, Six musical parts (Nuremberg 1697), in: Johann & Johann Philipp Krieger, Complete Organ and Clavierwerke I , ed. v. Siegbert Rampe and Helene Lerch, Kassel et al .: Bärenreiter, 1995.
  • Johann Kuhnau, New Clavier-Exercise, Part I , Leipzig 1689, (Facsimile) présenté par Philippe Lescat, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2001.
  • MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. With a choice Collection of Lessons for the Harpsichord and Organ of all Sorts. The First Part. (1673) (harpsichord suites and individual pieces by Matthew Locke, Christopher Preston, John Roberts, William Gregorie, William Hall, Robert Smith, John Banister, J. Moss, G. Diesner, William Thatcher), New York: Performer's Facsimiles (01234), n.d.
  • Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann (n.d.).
  • Benedikt Schultheiss, Muth- und Geist-encouraging Clavier-Lust , First and Second Part 1679/1680, ed. By R. Hudson, American Institute of Musicology / Hänssler (Neuhausen / Stuttgart), 1993.
  • Matthias Weckmann, All free organ and keyboard works , ed. v. Siegbert Rampe, 5th edition, Kassel: Bärenreiter, 1999.

Recordings

  • Heinrich Ignaz Franz Biber, Mensa sonora (Salzburg 1680), Musica Antiqua Köln, R. Goebel, published by: Archiv Produktion, 1988 (CD).
  • Philipp Heinrich Erlebach - "VI Sonata à Violino & Viola da gamba col suo basso continuo" , (1694), Rodolfo Richter (violin) et al., Published by: Linn Records, CKD 270 (rec. 2001) (CD).
  • Johann Caspar Ferdinand Fischer, " Le Journal du Printemps ", L'Orfeo Barockorchester, Michi Gaigg, published by: cpo, 2005 (CD).
  • Johann Joseph Fux - La Grandezza della Musica Imperiale , Freiburg Baroque Orchestra, Gottfried v. d. Goltz, published by: Arcana A 58, 2006 (CD).
  • Henry Purcell, music for the theater (music from "Abdelazer" , "Distressed Innocence" , "The Married Beau" , "The Gordian Knot Untied" ), Academy of Ancient Music, dir. by Christopher Hogwood, published by: Decca-Telefunken, 1976 (LP).
  • Handel, Telemann - Watermusic , The King's Consort, Robert King, published by: Hyperion, CDA66967 (rec. 1997) (CD).

Individual evidence

  1. ^ Carol G. Marsh: Gigue . in: The music in past and present , Volume A3, Sp. 1324-1329. Unless expressly stated otherwise, the article follows the presentation there.
  2. "Les Opéra François contiennent beaucoup de Gigues , & les Gigues de Correlli ( sic !) Ont été long-tems célèbres: mais ces Airs sont entièrement passés de Mode; on n'en fait plus you tout en Italy, & l'on n'en fait plus guère en France ». Jean-Jacques Rousseau: Gigue , in: Dictionnaire de musique , Paris 1768, p. 234.See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau%2C_Jean-Jacques) , viewed August 12, 2017 .
  3. ^ Konrad Ragossnig : Handbook of the guitar and lute. Schott, Mainz 1978, ISBN 3-7957-2329-9 , p. 110.
  4. ^ Konrad Ragossnig: Handbook of the guitar and lute. Schott, Mainz 1978, p. 110.
  5. With time signature "3".
  6. The Fitzwilliam Virginal Book (revised Dover Edition), ..., New York: Dover Publications, 1979/1980, Vol. 2, pp. 236f ( Watkin's Ale ), pp. 237 (Byrd), & pp. 257-258 (Bull ).
  7. ^ The Fitzwilliam Virginal Book (revised Dover Edition), ..., New York: Dover Publications, 1979/1980, Vol. 2, pp. 162ff (Richard Farnaby) & p. 416f (Giles Farnaby).
  8. Only three pieces are labeled as jiggs, but some unmarked pieces may also be jiggs, etc. a. a piece by Banister on p. 56. See: MELOTHESIA , ..., New York: Performer's Facsimiles (01234), undated, p. 18 (M. Locke, in 3/2!), p. 49 (W. Thatcher?), P. 70 (G. Diesner),.
  9. ^ The suites in C, line 665, and in a, line 663 var 1. Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann (undated), p. 87 (C, line 665) and p. 125 (a, line 663) & Notes .
  10. For a 3/8 time (or half of a 6/8), the normal dotting of the jig is: dotted eighth-sixteenth-eighth notes. With "Scotch Snab": sixteenth-dotted eighth-eighths. Examples can be found in Purcell's harpsichord suite in C (line 665) and in some stage music, also in Banister's (unmarked) Jig in C in Melothesia 1673, p. 56.
  11. ^ Text by Ludwig Finscher on the LP: Henry Purcell, Musik für das Theater (music from "Abdelazer" , "Distressed Innocence" , "The Married Beau" , "The Gordian Knot Untied" ) (LP), Academy of Ancient Music, dir . by Christopher Hogwood, published by: Decca-Telefunken, 1976.
  12. French sautillant : hopping
  13. Antoine Furetière (1619–1688), Dictionnaire universel contenant généralement tous les mots françois, tant vieux que modern, et les termes de toutes les sciences et des arts (publ. 1690, posthumously, with a foreword by Pierre Bayle).
  14. The best known example is the Prélude à l'imitation de Mr. Froberger in A minor, but also in the major Prélude in G minor, and in a Prélude in F. Manuscrit Bauyn, ..., deuxième part: Pièces de Clavecin de Louis Couperin , …, Facsimile,…, Courlay: Édition JM Fuzeau, 2006, pp. 12–14 (G minor), pp. 20–22 (A minor), pp. 34f (F major).
  15. In the suites in G major and G minor of his Pièces de Clavecin from 1689. Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999, pp. 15-16 (G major) and pp. 47-48 (G minor).
  16. So: "Allemande" on p. 54 or p. 56 = "Gigue" on p. 90 or p. 85. The term "Allemande giguée" does not appear, and the differences between the respective version "Allemande" and "Gigue" are so small that they can be traced back to accidental carelessness when copying. So it cannot be proven that an allemande was "rewritten" into a gigue or vice versa, as is sometimes claimed. Rather, it is evidently a certain type of composition that could obviously be named differently. "Mr. Joseph de la Barre" is mentioned once as the author (sheet 43r or page 85), all other times only "Mr. de la Barre". The authorship is therefore not clear in most cases, as there were several composers named de la Barre. However, it is reasonable to assume that the above-mentioned authors are from the same author, presumably Joseph Chabanceau de la Barre. This is also supported by the style of the two pieces. See: Manuscrit Bauyn, ..., troisième Partie: Pièces de Clavecin de divers auteurs, Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. 56 (Allemande) = p. 85 (" Gigue de Mr. Joseph de la Barre "), and p. 54 (Allemande) = p. 90 (Gigue).
  17. Johann Mattheson , “VII. Die Gique ... “, in: The perfect Kapellmeister 1739 , facsimile, ed. v. Margarete Reimann, Kassel: Bärenreiter, 1954 / 5th edition 1991, p. 228.
  18. Johann Mattheson, “VII. Die Gique ... “, in: The perfect Kapellmeister 1739 , facsimile, ed. v. Margarete Reimann, Kassel: Bärenreiter, 1954 / 5th edition 1991, p. 228.
  19. Recording on CD: Philipp Heinrich Erlebach, VI Sonate , Rodolfo Richter et al., Published by: Linn Records, CKD 270.
  20. ^ Heinrich Ignaz Franz Biber, Mensa sonora seu Musica instrumentalis (Salzburg 1680). In: Monuments of Tonkunst in Österreich , Vol. 96, Vienna: Österreichischer Bundesverlag, 1960, pp. 10–12 (Pars I, 6/4, fugitive, French), p. 32f (Pars IV, straight-cycle, Allabreve), P. 38 (Pars V, 6/4, French), P. 40f (Pars V, 12/8, Italian).
  21. Caution is called for with the well-known recording of Musica Antiqua Köln under R. Goebel, which plays one of the two French 6/4 gigs, namely the one in Pars I in D, so fast and virtuoso that the piece is thought to be Italian . Musica Antiqua has always been known for its extremely fast, sometimes excessive and aggressive tempos.
  22. ^ Johann Caspar Ferdinand Fischer, Musikalischer Parnassus (1738?), In: Complete works for keyboard instrument , ed. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901), p. 38 (Clio) and p. 44 (Melpomene).
  23. See e.g. B. the CD: Johann Joseph Fux, La Grandezza della Musica Imperiale , Freiburg Baroque Orchestra, Gottfried v. d. Goltz, published by: Arcana A 58, 2006.
  24. Suite in E minor HWV 438, Walsh 1733 No. 5.
  25. z. B. Suite in D minor HWV 436, Walsh 1733 No. 3, or Suite in G minor HWV 452.
  26. Quoted here from: Walter Kolneder: Lübbes Bach-Lexikon, Bergisch Gladbach: Bastei Lübbe, 1982, p. 110.
  27. See examples in the article.
  28. recording e.g. B. on the CD: Handel, Telemann - Watermusic , The King's Consort, Robert King, published by: Hyperion, CDA66967 (rec. 1997).
  29. ↑ For example, in Froberger's Libro II all partitas, except for No. 2. See: Johann Jacob Froberger, New Edition of all Clavier- und Organwerke I ( Libro Secondo (1649)), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 1993/2002.
  30. ^ At Chambonnières z. B. the suites in C and F of livre I , and the suites in d, D and F of livre II . See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  31. At Chambonnières in the suites in G and in G of Livre II . See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  32. Eg in Froberger's Libro IV of 1656 all six partitas have the gigue in second place. (See: Johann Jacob Froberger, New Edition of all Clavier- und Organwerke II ( Libro Quarto (1656) and Libro di Capricci e Ricercate (approx. 1658)), edited by Siegbert Rampe, Kassel et al .: Bärenreiter, 1995. )
  33. Three of the six partitas by Weckmann in his partial autograph from around 1660 are also in the AGCS order. He took it over directly from Froberger. See: Matthias Weckmann, Complete Organ and Keyboard Works , ed. v. Siegbert Rampe, 5th edition, Kassel: Bärenreiter, 1999, pp. 42–61.
  34. See also Adalbert Quadt (Ed.): Guitar music of the 16th – 18th centuries Century. 4 volumes. Edited from tablature. Deutscher Verlag für Musik, Leipzig 1970–1984, pp. 17–20 (Giovanni Battista Granata: the dance couples Allemande and Gigue and Allemande and Courante from Novi Capricci armonici Musicali pour la Chitarra Spagnola from 1674).
  35. Benedikt Schultheiss, Muth- und Geist-ermuntrender Clavier-Lust , First and Second Part 1679/1680, ed. By R. Hudson, American Institute of Musicology / Hänssler (Neuhausen / Stuttgart), 1993.
  36. ZB Livre I , Suite 3me in D / D: with 2 gigues at the end; Livre II , Suite 5me in g: with Pavane-Gigue-Courante-Gigue. (See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967).
  37. In the suite in g from 1687, and in the suite in d from 1707; in the second case, Gigue I even has a double. See: Élisabeth Jacquet de la Guerre, Pièces de Clavecin, 1687, Facsimile, ..., Courlay: Édition JM Fuzeau, 1997, pp. 34-37. Élisabeth Jacquet de la Guerre, Pièces de Clavecin qui peuvent se jouer sur le violon, 1707, Facsimile, ..., Courlay: Édition JM Fuzeau, 2000, pp. 9-14.
  38. ZB in: Telemann, TWV 55: C6 and d3.
  39. At the penultimate place before a canary z. B. in Telemann's " Hamburger Ebb 'und Fluth " (see above). This also often occurs in France, as early as in the harpsichord suites of Chambonnières ( Pièces de clavecin , 1670, vol. 1 & 2).
  40. There is no jig in the other three orchestral suites.
  41. Johann Mattheson, “VII. Die Gique ... “, in: The perfect Kapellmeister 1739 , ..., Kassel: Bärenreiter, 1954 / 5th edition 1991, p. 228.
  42. Mattheson's characterizations are very personal and sometimes a bit idiosyncratic. They are interesting, but not always to be taken too seriously, especially since it is difficult to make every example with a keyword or two. Furthermore, Mattheson's remarks and observations apply above all to his time. A significantly longer period is considered in this article.
  43. Die Giguen der Partiten I - III (FbWV 607, 608, 609) and V (FbWV 611). The gigs of the two remaining partitas FbWV 610 and 612 are notated in three-meter meters. See: Johann Jacob Froberger, New Edition of Complete Clavier and Organ Works II ( Libro Quarto (1656) and Libro di Capricci e Ricercate (approx. 1658)), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 1995.
  44. There are also two transcriptions for harpsichord in the Manuscrit Rés. 89 ter , which, according to Bruce Gustafson, could possibly have been partly written by Jean-Henry d'Anglebert. Manuscript Rés. 89 ter, Pièces de Clavecin: D'Anglebert - Chambonnières - Louis Couperin - Transcriptions de pièces pour luth , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999, p. 36 and p. 126.
  45. This jig seems thematically inspired directly by Froberger. See: Manuscrit Bauyn, ..., troisième Partie: Pièces de Clavecin de divers auteurs, Facsimile, ..., Courlay: Édition JM Fuzeau, 2006, p. 117.
  46. So: "Allemande" on p. 54 or p. 56 = "Gigue" on p. 90 or p. 85. The term "Allemande giguée" does not appear. For the problem of authorship see above. See: Manuscrit Bauyn, ..., troisième Partie: Pièces de Clavecin de divers auteurs, Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. 56 (Allemande) = p. 85 ("Gigue de Mr. Joseph de la Barre"), and p. 54 (Allemande) = p. 90 (Gigue).
  47. MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. ... , New York: Performer's Facsimiles (01234), undated, pp. 66-67.
  48. In Ms. Mus. Sch. D. 219 of the Bodleian Library Oxford. See Siegbert Rampes foreword to: Johann Jacob Froberger, New Edition of all Clavier- und Orgelwerke III ( keyboard and organ works from transcripts: partitas and partite sets part 1 ), ..., Kassel et al .: Bärenreiter, 2002, p. XLVI ( Footnote 185).
  49. The "Giques " of Partita II in D and Partita V in A are in C time. Johann & Johann Philipp Krieger, Complete Organ and Keyboard Works I , ed. v. Siegbert Rampe and Helene Lerch, Kassel et al .: Bärenreiter, 1995, p. 18f and p. 30f.
  50. The jigs of the suites in E minor and in B Minor in: Benedikt Schultheiss, Muth- and mind-ermuntrender Clavier-like, first and second part of 1679/ 1680 , ed by R. Hudson, American Institute of Musicology / Hänssler. (Neuhausen / Stuttgart), 1993, p. 25f. and p. 40f.
  51. ^ Suite in D, in: Johann Kuhnau, Neue Clavier-Exercise, Part I , Leipzig 1689 (Facsimile), ..., Courlay: Édition JM Fuzeau, 2001, p. 78f.
  52. Georg Böhm, Complete Works for Harpsichord , ed. v. Kl. Beckmann, Wiesbaden, Breitkopf & Härtel, 1985, p. 14 (F) and p. 50 (Es).
  53. ^ Heinrich Ignaz Franz Biber, Mensa sonora seu Musica instrumentalis (Salzburg 1680). In: Monuments of Tonkunst in Austria, Vol. 96, Vienna: Österreichischer Bundesverlag, 1960, p. 32ff.
  54. See Siegbert Rampes remarks in the foreword to: Johann Jacob Froberger, New Edition of all Clavier- and Organ Works II ( Libro Quarto (1656) and Libro di Capricci e Ricercate (approx. 1658)), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 1995, p. XIII f (preface Rampe), p. 53 (FbWV 607) and p. 110f (FbWV 607a).
  55. Siegbert Rampe gives a detailed account of this topic, with examples mainly from Froberger's work, in the foreword to: Johann Jacob Froberger, New Edition of all Clavier- and Organ Works III ( Clavier and Organ Works from transcripts: Partitas and Partitets Part 1 ) , ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 2002, foreword p. XLVI-XLVIII (FbWV 613b / 1-3).
  56. A transcription of this piece for harpsichord in: Manuscrit Rés. 89 ter , Pièces de Clavecin: D'Anglebert - Chambonnières - Louis Couperin - Transcriptions de pièces pour luth , Facsimile, ..., Courlay: Édition JM Fuzeau, 1999, p. 126f.
  57. Mixed versions and ternary versions, and a detailed commentary is provided by S. Rampe in: Johann Jacob Froberger, New Edition of all Clavier- und Orgelwerke III ( Clavier and Organ Works of Copied Tradition: Partitas and Partit Sets Part 1 ), ed. v. Siegbert Rampe, Kassel et al .: Bärenreiter, 2002, pp. 44–45 and 48f. (Mixed versions), pp. 49–51 (ternary versions), pp. XLVI-XLVIII (commentary in the foreword). Strangely enough, Rampe does not pass on the completely binary version in Ms Bauyn, f. 48r , although he consults them for details of other versions.
  58. This is Partita IV in the Libro Quarto (1656), a manuscript that goes back directly to Froberger and was made for Emperor Ferdinand III. See: Johann Jacob Froberger, New Edition of Complete Clavier and Organ Works II ( Libro Quarto (1656) and Libro di Capricci e Ricercate (approx. 1658)), ..., Kassel et al .: Bärenreiter, 1995, p. 63.

Web links

Wiktionary: Gigue  - explanations of meanings, word origins, synonyms, translations
  • Baroque gigue , YouTube video with dancers in baroque costumes and musicians from the Giardino Harmonico