Loure

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The Loure is a moderately slow to slow dance from the 17th and 18th centuries from France in 3/4 or 6/4 time . It is also sometimes referred to as a gigue lente or slow gigue . The same name has been used in Normandy since the 13th century to describe a bagpipe (Latin: lura = airbag). In French music, "lourer" means tying the notes and emphasizing the one of each measure.

Joh. Seb. Bach: Loure from the French Suite No. 5 BWV 816

A dotted rhythm is typical of the baroque Loure, often with an opening of an eighth and a quarter (in 3/4 and 6/4). The structure is mostly a dance set form or dual form , usually as |: A: ||: B: | .

The Loure is considered a ball dance for couples, but was also performed as a solo dance by men; However, it was not a ballroom dance, but a theater dance by virtuosos. Raoul-Auger Feuillet described it in 1704 in his Recueil d'entrées de ballet de Mr Pécour . She is slow, vigorous, serious, magnificent, and dignified. Her character was described as a “proud, inflated being” ( Johann Mattheson 1739), “… seriousness and dignity, also highness” ( Johann Georg Sulzer 1773/74) or “magnificent” ( Johann Joachim Quantz 1752). Musically, the Loure developed from an initially relatively simple structure to a very special dance: the melody, especially in the 18th century, is often relatively complex and rambling, often with an emphasis on dark and deep registers, which contribute to a somewhat gloomy, grave character . The rhythm is also relatively complex: in parts it goes quickly, then again the musical flow can almost come to a standstill, and sometimes there are somewhat sudden accent shifts. But there are also pieces that tend more towards the melancholy, soft or even lovely.

Jean-Baptiste Lully was probably the first to introduce Loure into some of his theatrical works, e.g. B. in Le Bourgeois gentilhomme (1670) and in Alceste (1674). Loure only took on its form, which is still known today, under Lully's successors, from André Campras L'Europe galante (1697) or Delalandes Symphonies pour les Soupers du Roy (1703) to the Ballet La Fantaisie (1729) by Jean-Féry Rebel . It was only at the height of its popularity and its artistic form in the 18th century, from around 1720. Jean-Philippe Rameau in particular used it in numerous of his stage works, often with imaginative instrumentation and strong dynamic contrasts, e.g. B. in Les Indes galantes (1735), Castor et Pollux (1737), Les Fêtes d'Hébé (1739), Le Temple de la Gloire (1745), Naïs (1749), Zoroastre (1749/1756), Acante et Céphise (1751) and Les Boréades (1764). Some of these pieces were also sung, e.g. B. in the shadow scene in the fourth act of Castor et Pollux or in the sun worship of Les Indes galantes . The latter piece is a Loure en Rondeau , so it is not in two parts, but a Rondo .

In Germany, the Loure was particularly cultivated by Telemann , of whom there are some examples in his orchestral suites, e.g. B. in Hamburg's Ebb und Fluth (1723), where she characterizes the "amorous Neptunus"; other examples can be found by Christoph Graupner , Johann Bernhard Bach or Heinichen .

Graupner also used them several times in his harpsichord music collection " monthly clavier fruits " (1722). Johann Sebastian Bach used it in his French Suite No. 5 and also in Partita No. 3 for solo violin .

Curiously, this dance was so forgotten in the 19th century that Bach's Loure of the French Suite was referred to as "Bourrée II " in piano editions by Czerny (Leipzig: Peters, 1841) or by the Bach Society (Leipzig: Breitkopf and Härtel, 1865) .

Web links

Commons : Loure  - collection of images, videos and audio files

swell

literature

  • Daniel Gottlob Türk: "Die Loure ...", in: Klavierschule , Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (seen on 13. August 2017).

grades

  • Christoph Graupner, monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.

Recordings

  • Johann David Heinichen, Galant Court Music , Il Fondamento, Paul Dombrecht, published by: passacaille, 2002 (CD).
  • Concert de Danse (music by Rebel, Rameau, Lully and others), La Petite Bande, Sigiswald Kuijken, published by: Accent, 1996/2006 (CD).
  • Jean-Philippe Rameau: Castor et Pollux , Les Arts florissants, William Christie, published by: harmonia mundi France, 1991 (3 CDs).
  • Jean-Philippe Rameau: Les Indes galantes , Les Arts florissants, William Christie, published by: harmonia mundi France, 1991 (3 CDs).
  • Jean-Philippe Rameau: Orchestral Suites (from: Acanthe et Céphise , and Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com /glossa/reference.aspx?id=130 , seen on August 14, 2017)
  • Jean-Philippe Rameau: Orchestral Suites Vol. 2 ( Naïs & Zoroastre ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/reference.aspx ? id = 271 , viewed August 14, 2017).
  • Jean-Philippe Rameau: Orchestral Suites (from: Les Boréades , and Dardanus ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: Philips 1986.

Individual evidence

  1. ↑ Meredith Ellis Little: Keyword Loure in: The New Grove, Dictionary of Music & Musicians, London 1980, Vol. 11, p. 256
  2. ↑ "lourer: (Musique) lier les notes de appuyant sur la première de chaque temps ou sur le premier temps de chaque mesure". See: http://dictionnaire.reverso.net/francais-definition/lourer
  3. ↑ See e.g. B. Daniel Gottlob Türk: "Die Loure ...", in: Klavierschule , Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (seen on August 13, 2017).
  4. ↑ Daniel Gottlob Türk: "Die Loure ...", in: Klavierschule , Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (seen on 13 August 2017).
  5. ↑ Everything is quoted from Klaus Miehling: Das Tempo in der Musik von Barock und Vorklassik, Wilhelmshaven 1993, p. 305
  6. ↑ z. B. the Loures in Rameaus Acante et Céphise (1751) and Les Boréades (1764).
  7. ↑ See e.g. B. Joh. Seb. Bach's Loure from the French Suite No. 5, BWV 816 in the illustration.
  8. ↑ z. B. Telemann's Loure "Neptunus in love" in the orchestral suite Hamburger Ebb und Fluth (1723).
  9. ↑ Caution is advised with a well-known recording of some dances from Alceste under Jordi Savall, who takes the "Loure des Pêcheurs" there at a much too fast pace like a gigue and has it accompanied with rattling drums. Unfortunately, this is a mistake in interpretation, which, in view of the celebrity of the performers, can unfortunately lead to fatal misjudgments and misunderstandings, both with the audience and with follow-up interpreters - and especially in connection with this article. See: Jean-Baptiste Lully, L'Orchestre du Roi Soleil , Le Concert des Nations, Jordi Savall, published by: Alia Vox, 1999 (CD).
  10. ↑ To be heard on the CD: Concert de Danse (music by Rebel, Rameau, Lully and others), La Petite Bande, Sigiswald Kuijken, published by: Accent, 1996/2006.
  11. ↑ Jean-Philippe Rameau: Orchestral Suites (from: Acanthe et Céphise , and Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http: //www.glossamusic. com / glossa / reference.aspx? id = 130 , viewed on August 14, 2017)
  12. ↑ Loure from Les Boréades on CD: Jean-Philippe Rameau: Orchestral Suites (from: Les Boréades , and Dardanus ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: Philips 1986.
  13. ↑ Jean-Philippe Rameau: Orchestral Suites Vol. 2 ( Naïs & Zoroastre ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/reference. aspx? id = 271 , viewed August 14, 2017).
  14. ↑ In Acte IV, Scène 2. See the CD recording: Jean-Philippe Rameau: Castor et Pollux , Les Arts florissants, William Christie, published by: harmonia mundi France, 1991 (3 CDs), here: CD 3.
  15. ↑ In the 2me entrance " Les Incas du Pérou ". See: Jean-Philippe Rameau: Les Indes galantes , Les Arts florissants, William Christie, published by: harmonia mundi France, 1991 (3 CDs), here CD 2.
  16. ↑ Other examples can also be found in Telemann's overture suites TWV 55: D15, d3, g4, b4 and f sharp (without claim to completeness).
  17. ↑ ZB in the Overture in G major, Seibel 206. See the CD: Johann David Heinichen, Galant Court Music , Il Fondamento, Paul Dombrecht, published by: passacaille, 2002 (CD).
  18. ↑ Christoph Graupner, monthly clavier fruits (1722) , facsimile, ..., Courlay: Édition JM Fuzeau, 2003.
  19. ↑ The Bach Society only corrected this error in the new edition of 1895 (by Franz Naumann), with the same musical text.