minuet

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Pierre Rameau, Le Maître à danser , Paris, 1725.

The minuet (from French menuet ; Italian minuetto , menuetto , English minuet ), from French from “menu pas” (small, delicate step), is an old courtly ballroom dance of French origin and an important dance of the Baroque and Classical periods. It is at the 3 / 4 - clock (rare in 3 / 8 or 6 / 4 ), usually begins abtaktig, and usually consists of a sequence of 4, 8 or 16-bar parts.

The minuet in a musically stylized form became an integral part of the classical symphony after 1750.

"... a well-known dance piece of noble, charming character, in three-quarter time (less often in 3/8), ..."

- Daniel Gottlob Türk : "Die [sic!] Minuet ...", in: "Klavierschule", 1789, p. 401.

history

The minuet was a popular ballroom dance from the second half of the 17th to the late 18th centuries. Its origin is largely unclear - the earliest evidence of instrumental movements intended to accompany the dance is dated to the 1660s. It probably comes from the branle à mener (or amener ), or (according to Prätorius 1612 in Terpsichore ) from the Branle de Poitou . For this theory speak z. B. the first surviving menuet of French harpsichord music: a menuet de Poitou with double by Louis Couperin (1626–1661) and Ragossnig's reference that the term minuet first appeared in the 16th century for one of the 26 varieties of Branle. According to Jürgen Libbert , the minuet was introduced at the court of Louis XIV around 1650 and made socially acceptable.

The minuet was first mentioned in 1664 by Guillaume Dumanoir , in a polemical treatise against the dance masters of the Académie royale de danse . After Jean-Baptiste Lully had contributed the dance to Molière's Le Mariage forcé ( The Forced Marriage ) in 1664 , the minuet became the favorite dance of the French court. In Molières Bourgeois gentilhomme the minuet is mentioned several times; In the final act of the Ballet des Nations , the French are represented by Poitevins (residents of Poitou ), as the soul of the minuet should come to the fore. In Lully's operas and ballets, between 1664 and 1687, over 90 minuets are found that were not only danced but also sung (e.g. in Lully's Atys , Act IV, 5 (1676)).

Georg Muffat: Menuet I & II, from Suite No. 2 (?). Advent Chamber Orchestra, November 2007.

In instrumental music, the minuet, based on France, can already be found in large numbers in the last third of the 17th century. B. in published minuet collections as well as in chamber or orchestral suites or operas . In French harpsichord music, the first menuet by Chambonnières was published in 1670 ( Pièces de clavessin , Vol. II); from then on it very often formed the end of a (harpsichord) suite, often together with a gavotte . In orchestral suites, the minuet could be anywhere except at the beginning (e.g. with Lully, Rameau , Fischer , Telemann , Graupner etc.). Johann Sebastian Bach maintained his own, relatively strict order in his solo suites and partitas, where the minuet, like other gallantry dances, is placed between the sarabande and the gigue . In the late baroque period, many minuets had already achieved a high degree of stylization, especially with Joh. Seb. Brook.

The tempo of the minuet was lively at first, the character cheerful, casual, lighthearted, dandy, and at the same time elegant, graceful and noble. In 1739, Mattheson attributes "... moderate merriment" to him as an affect. In 1789, Türk called it "noble", "charming" and "pleasing". In the 18th century, a festive type of minuet with fanfare-like tone repetitions emerged. B. Rameau in Hippolyte et Aricie (Act IV; 1733) and in Acanthe et Céphise (1751), and Mozart also used as a typical aristocratic minuet in the finale of the 1st act of Don Giovanni (1787).

Historical pendulum indications of the baroque indicate 60 to 77 clocks per minute. In the second half of the 18th century the danced minuet slowed down (initially 144 - 160 quarters per minute, later down to 100), while minuets in chamber and orchestral music often maintained or even increased the brisk pace of the Baroque (108 Bars per minute in Beethoven's 1st Symphony ). Türk 1789 gives the tempo as "moderately fast" and says: "In some areas the minuets are played much too fast if they are not intended for dancing".

At the end of the 18th century, three directions of composition emerged from the minuet: first, the slower, traditional dance movement, second, a forerunner of the waltz, which mainly emphasizes the triple time, and third, a fast movement, whose main focus is on maintaining the metrically ordered repetitions . In the second half of the 18th century and in the Viennese Classic , the minuet was the only traditional dance that was adopted in sonata and symphony, and other forms such as quartet or quintet; there it was usually in third place in a four-movement form, together with a trio .

Drawing minuet in the classical period

Luigi Boccherini composed what is probably the most famous minuet of all in 1771 for his String Quintet op. 11.5 in E major. It's a highly stylized piece in fairy-like floating instrumentation, with a slightly more down-to-earth trio.

In the 19th century, the minuet had a reputation for being out of date; it is only rarely taken up. Occasionally, it is still used later in more recent eras, but remains rather a marginal phenomenon.

shape

The minuet itself is in two parts, each part being repeated; this corresponds to the form ||: A: ||: B: || .

Subsection A is often executed as an 8-bar period, B often twice as long, i.e. twice 8 or 16 bars (especially in the early minuet in the 17th century).

As with other dances, there was also a minuet in rondo form , the menuet en rondeau . This usually has the form A - B - A - C - A, or the simpler form A - B - A. However, it was less common than z. B. a gavotte en rondeau .

French clavecinists sometimes wrote a variation on the minuet, this is called Menuet en Double . In the late baroque period, a minuet was sometimes the subject of several variations, e.g. B. in Handel's harpsichord suite in D minor (G 118–122).

Already with Lully and other French composers the minuet was often paired with a second minuet, one then speaks of: Menuet I and Menuet II . The first minuet is repeated after the second ( da capo ), which is why it is sometimes called " alternativement " (alternating). A superordinate form ABA is created. The two minuets can either be in the normal two-part form, or one can be a minuet en rondeau .

The second minuet was performed in orchestral music and, even with Lully, often as a soloist; B. from two oboes and bassoon , or from two violins and violoncello . Hence the name trio . This tradition results in the often solo, chamber music character that Haydn and Mozart still cultivate in the trios of their minuets. In addition to the instrumentation, the trio mostly contrasts with the Minuet I in key and dynamics.

WA Mozart: 3rd movement Rondo Tempo di Menuetto , from the Concerto in B flat major for bassoon and orchestra KV 191 (186e). Arthur Grossman and the 7th Army Symphony Orchestra under Ling Tung (Bordeaux 1957).

A movement with the instruction A tempo di minuetto (or just Tempo di minuetto , also Tempo di menuetto ) only adopts the tempo and possibly the character of the minuet, not its typical form. Since these are usually concert movements, such a movement is often much longer than a normal minuet and can also contain virtuoso elements (e.g. A tempo di Minuetto in Telemann's Recorder Concerto in C major, TWV 51: C 1 ; or the rondo from Mozart's bassoon concerto in B flat major KV 191 (1774)). Mattheson already pointed out that arias by German and Italian composers are sometimes written in the Tempo di minuetto , sometimes they are dacapo arias . Examples are the performance aria “Emblazoned the most beautiful flower” by Croesus in the opera of the same name (1730) by Reinhard Keizer , or Porpora's aria for Farinelli “Dall 'amor più sventurato” from his opera Orfeo (1736).

See also

Web links

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

literature

Other sources

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 Bauyn,…, troisième part: Pièces de Clavecin de divers auteurs , Facsimile, prés. by Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.
  • Jacques Champion de Chambonnières: Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  • Louis-Nicolas Clérambault: Pièces de clavecin (1703), New York: Performer's Facsimiles (24522), undated
  • Christoph Graupner: Monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.
  • George Frideric Handel: Keyboard Works for Solo Instrument ( from the Deutsche Händelgesellschaft Edition) , ed. By Friedrich Chrysander, New York: Dover Publications, 1982.
  • Elisabeth Jacquet de la Guerre: Les Pièces de Clavecin, Premier Livre , 1687. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1997.
  • Louis Marchand: Pièces de Clavecin, Livre Premier (1702) and Livre Second (1703). Complete edition, Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.
  • Wenzeslaus Matiegka : Dodici minuetti brillanti op.15 per chitarra. Edited by B. Tonazzi. Edizioni Suvini Zerboni, Milan.
  • Jean-Philippe Rameau: Pièces de Clavecin (Complete Edition), ed. by ER Jacobi, Kassel et al .: Bärenreiter, 1972.

Recordings

  • Jean-Philippe Rameau: Orchestral Suites ( Acanthe et Céphise & 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 August 14, 2017).
  • Jean-Philippe Rameau: orchestral suite from "Hippolyte et Aricie" 1733 , La Petite Bande, Sigiswald Kuijken, published by: deutsche harmonia mundi 1979 (LP).

Remarks

  1. ^ Dance Instruction Manuals. Retrieved April 17, 2018 .
  2. ↑ Daniel Gottlob Türk: "Die (sic!) Menuett ...", in: Klavierschule, Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (as seen on August 13, 2017).
  3. ↑ Little, Meredith Ellis: "Minuet", in: The New Grove Dictionary of Music and Musicians , second edition, ed. By Stanley Sadie & John Tyrrell , London: Macmillan Publishers, 2001.
  4. ↑ The piece is handed down in the Bauyn manuscript and can be dated to before 1661 because of L. Couperin's early death. Manuscript Bauyn,… , troisième part: Pièces de Clavecin de divers auteurs, Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. VII (table of contents) and p. 102 (The word "menuet" was later crossed out by an unknown person, but it is still visible and the piece has a clear menuet -Character.)
  5. ^ Konrad Ragossnig : Handbook of the guitar and lute. Schott, Mainz 1978, ISBN 3-7957-2329-9 , p. 111 f. ( Minuet ); here: p. 111.
  6. ↑ Jürgen Libbert (Ed.): Wenzel Matiegka, 12 easy pieces op. 3 for guitar. Adapted from the original text [from the chemical printing works in Vienna from around 1814]. Edition Preißler, 1979 (= studio series guitar. Volume 3), p. 16 ( Menuetto ).
  7. ^ Philippe Beaussant: Lully ou le Musicien du soleil , Gallimard, [Paris] 1992, p. 395.
  8. ↑ It's the very last piece. Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967, p. 61.
  9. ↑ Examples can be found u. a. in Lebègue (1677, 1687), Élisabeth Jacquet de la Guerre (1687), d'Anglebert (1689), Marchand (1702, 1703), and Rameau (1706).
  10. ↑ Johann Mattheson, "Le Menuet, la Minuetta ..." (§ 81-86), in: The perfect Capellmeister 1739 , ed. v. Margarete Reimann, Kassel et al .: Bärenreiter, p. 224 (§ 81).
  11. ↑ Daniel Gottlob Türk: "Die ( sic !) Menuett ...", in: Klavierschule , Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (as of August 13, 2017)
  12. ↑ Jean-Philippe Rameau: orchestral suite from "Hippolyte et Aricie" , La Petite Bande, Sigiswald Kuijken, published by: deutsche harmonia mundi 1979 (LP), here p. 2 (4th act, Menuet 1).
  13. ↑ The minuet in question in Acanthe and Céphise is set with clarinets, which were very newfangled at the time. Jean-Philippe Rameau: Orchestral Suites ( Acanthe et Céphise & Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997.
  14. ↑ Daniel Gottlob Türk: "Die ( sic !) Menuett ...", in: Klavierschule , Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (as of August 13, 2017)
  15. ↑ z. B. in Graupner's harpsichord suites "Martius" and "Maius"; Maius even has three couplets, i.e. the form ABACADA. See: Christoph Graupner, monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003, p. 43 (Martius) and pp. 62–63 (Maius).
  16. ↑ z. B. with Louis Marchand or Clérambault. See: Louis Marchand, Pièces de Clavecin, Livre Premier (1702) and Livre Second (1703). Complete edition, Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003, p. 52. And: Louis-Nicolas Clérambault, Pièces de clavecin (1703), New York: Performer's Facsimiles (24522), n.d., p. 10 (For both composers the Menuet II is a rondeau of the form ABA).
  17. ↑ z. B. Louis Couperin's Menuet de Poitou & Double. See: Manuscrit Bauyn,… , troisième Partie: Pièces de Clavecin de divers auteurs, Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. VII (table of contents) and p. 102.
  18. ↑ Élisabeth Jacquet de la Guerre, Les Pièces de Clavecin, Premier Livre , 1687. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1997, pp. 38-39.
  19. ^ George Frideric Handel, Keyboard Works for Solo Instrument ( from the Deutsche Handelgesellschaft Edition) , ed. By Friedrich Chrysander, New York: Dover Publications, 1982, pp. 57-58.
  20. ↑ z. B. in Telemann's Concerto "Les rainettes", TWV 51: A2, or in various of his orchestral overtures, such as TWV 55: g4 or C6 or d3. Also in Graupner's harpsichord suites, see: Christoph Graupner, monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.
  21. ↑ z. B. with Louis Marchand or Clérambault. See: Louis Marchand, Pièces de Clavecin, Livre Premier (1702) and Livre Second (1703). Complete edition, Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003, p. 52. And: Louis-Nicolas Clérambault, Pièces de clavecin (1703), New York: Performer's Facsimiles (24522), n.d., p. 10 (For both composers the Menuet II is a rondeau of the form ABA).
  22. ↑ Johann Mattheson, "Le Menuet, la Minuetta ..." (§ 81–86), in: The perfect Capellmeister 1739 , ed. v. Margarete Reimann, Kassel et al .: Bärenreiter, p. 225 (§ 86).