Pavane

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The Pavane (Italian: Pavana ; English: Pavana , Pavan , paven , Pavin , baboon , pavine , pavyn ), also Italian Paduana (older Padoana ), a (mostly) is duple , solemn and slow walking dance or circle dance allegedly Spanish-Italian Origin, which was spread all over Europe and experienced its heyday in the 16th and 17th centuries. The French dance theorist Thoinot Arbeau wrote in his orchésography as early as 1589 that the pavane was "not danced as often as it used to be". In the first half of the 17th century it was included in the German dance suite and came as ballroom dancing gradually out of fashion. However, they can be found in instrumental music until the second half of the 17th century. It experienced a second bloom in the instrumental art form of the tombeau until the 18th century .

Four-part Pavane Belle qui tiens ma vie by Thoinot Arbeau in a mid-tone tuning on a concert grand

According to Arbeau (1589), this dignified dance was danced more or less by the entire court at royal and princely courts at large celebrations and balls and also served as a splendid display of precious robes and vestments (see quote below); it was also played at weddings when the bride entered church. The English Queen Elizabeth I also apparently had a preference for the Pavane.

The term “Pavane” (Italian pavana , from padovana ) contains the name of the Italian city of Padua , called “Pava” in the dialect, where according to some sources the origin of the dance can be found. However, this contradicts the fact that the Paduans of Venetian dance masters such as Facoli (1588), Radino (1592), and also Jacob Paix ' Padoana venetiana (1583) are basically in three time (triple time like 3/4 time) and one rather have poetic, swaying 'gondola' character. (Already in Attaignant there is a one-movement, in three-time - here 3/4 time - held pavana type as pavane “La Rote de Rode” , which was later called Rotta and was traced back to the Italian lutenist Antonio Rotta as the inventor). Other sources see the origin of the Pavane in relation to the solemn movements of the dance in the Spanish word pava or pavón , which translates as peacock .

The Pavane is often combined with a night dance (called "Proportio" , usually in the form of the Galliarde , in Attaignant also as a Saulterelle ) in an uneven rhythm.

Arbeau also distinguished between the normal Pavane and the Pavane d'Espagne (Spanish Pavane), which was a slightly different, less solemn dance, which he even compared to the Canaries, and which was still relatively new in his time (1589).

dance

Sequence and melody of the "Pavane d'Espagne", Thoinot Arbeau, Orchésographie 1589.

The step material of the Pavane is described with the French step names “simple” and “double” and was very simple according to Arbeau: simple - left, simple - right (first bar) double left (second bar). Then the step combination to the right is repeated, then another step combination to the left and so on. Each step combination leads to a transfer of weight so that the right and left foot are alternately free. The simple consists of a simple, flat step forward. The free foot is pulled loosely towards the loaded one, while the heels of both feet lift slightly. Then the unloaded foot swings on to the next step. The step takes place on the first stroke, the lowering and lifting of the heels on stroke 2. The double consists of a series of three flat steps followed by raising and lowering the heels. One step falls at one stroke, the raising and lowering of the heels on the fourth stroke. The step combination simple-simple-double thus fills a musical unit. The arms hang down loosely, the gentleman takes the lady with his right hand and guides her. Several couples dance one after the other like a procession. But even a single couple can dance to the sound of a pavane. If the gentleman wants to - or has to - change the dance direction, he performs a convience or conversion , ie he dances his step combination backwards in a circle while he leads the lady forward in a circle until she has made a 180 ° turn after a step combination. At the beginning and at the end, both dance partners perform a reverence to each other: The gentleman brings his right leg forward and bows to the lady without lowering his head. The lady bends both knees at the same time as if in a curtsey. The gentleman can then kiss his own hand before giving it to the lady (the kiss on the hand as we know it today did not appear until the 19th century). If both of them have danced a pavane together, the gentleman will bring the lady back to her place or another galliard will dance with her.

“The nobleman can dance it in his cloak and rapier: And you others in long robes, walking respectfully with set seriousness. And the demoiselle in a modest posture, eyes downcast, now and then looking at those present with virginal modesty. And as for the pavans, they are used by kings, princes and great lords to show themselves on certain festive holidays with their large cloaks and parade dresses. And they accompany the queens, princesses and ladies, the long trains of their robes lowered and dragged, sometimes worn by demoiselles. [...] The aforementioned pavans are also used at a masked ball for the entrée of triumphal chariots with gods and goddesses, emperors and kings full of majesty. "

- Thoinot Arbeau : Orchésographie , 1589, f. 29v

music

The Pavane is in a slow, straight beat (C, 2/2 or 4/4). The earliest known Pavane is in Joan Ambrosio Dalza's Intabolatura de lauto libro quarto (1508, Venice: Ottaviano Petrucci ). Examples from the first half or the middle of the 16th century are at a moderately slow pace of a solemn character, which is clearly based on the dance steps and movements. As is usually the case with dances, the sections consist of a regular number of bars, e.g. B. 8, 12, or 16 bars.

A simple and probably very old Pavan melody over a simple bass model or chord pattern ( Pavaniglia ), which was known throughout Europe and served as a template for variations ( e.g. by Giovanni Paolo Foscarini ) from around 1546 until the 18th century , was the Published in 1578 Pavana italiana (with a total of six variations) by Antonio de Cabezón (1510–1566); the same melody is typically called Spanish Pavan by John Bull and other Englishmen (a total of 8 variations). Possibly this 'Spanish' melody was a reason why the origin of the Pavane was sought in Spain (there, for example, by Gaspar Sanz 1675, referred to as pavanas ) (or in Italy). Incidentally, it is not the melody that Thoinot Arbeau handed down for the so-called Pavane d'Espagne - nevertheless, Cabezón and Bull's original melody could be a musical version of this special dance.

According to Arbeau, the normal Pavane was often accompanied by the beat of the drums when dancing, in the rhythm of the dance steps described above: long-short-short (1/2 - 1 / 4-1 / 4). If desired, the drum rhythm could also be omitted. Arbeau specifies "oboes" ("hautbois", presumably: Pomerania) and trombones as typical instruments of the Pavane at large festivals, but also violins, spinets, transverse flutes, recorders, "... and all kinds of instruments".

Most pavans are in three parts, with each part repeated: A – A′ – B – B′ – C – C ′.

Compositions for instrumental ensembles usually have no written embellishments; however, it is possible that decorations were improvised, especially trills, double strikes, etc. Ä., and perhaps also passaggi , as long as they did not disturb the actual dance - such ornamentation could increase the noble, solemn character of the Pavane. Even Attaingnant (1531) intabulations of pavans for keyboard instruments ( harpsichord , spinet , virginal ) containing such tendered ornaments. Correspondingly more could be done in the reprises (A ', B', C ').

William Byrd, Pavana Sir William Petre , from: Parthenia , London 1613

Examples of this are the pavans of English composers such as Dowland, Byrd , Bull, Peter Philips and others. a. At the same time, the pavane achieved an ever greater stylization in England towards the end of the 16th century and reached its ultimate perfection as an art form. This can already be clearly felt in Byrd's contrapuntal pavans with imitations in the various voices. Despite this great refinement, most of Byrd's pavans still seem danceable, and the timing ratios are relatively simple (see above). In the aftermath and with later virginalists, however, the tempo becomes slower and slower, the decorations more and more virtuoso, towards thirty-second notes on the edge of the playable. Examples are: John Bulls Pavana of my Lord Lumley , Thomas Warrocks Pavana in Bb (i.e. in an unusual transposition of the 6th note after Bb; Fitzwilliam Virginal Book , XCVII), Thomas Tomkins Pavana in a ( Fitzwilliam Virginal Book , CXXIII). Such pieces are almost certainly no longer dances, they are to be regarded as pure art music. Some pavans also have a very irregular structure, e.g. B. The first two sections of Bulls Pavana of my Lord Lumley have 11 bars, and Morley also has sections with 20 or 15 bars.

At the same time, the pavane is developing more and more into a piece of mourning, in the sense of a general melancholy fashion typical of the time, but also as a lament or tombeau . Well-known examples are: Peter Philips Pavana dolorosa with Galiarda (1593; Fitzwilliam Virginal Book , No. LXXX and LXXXI), Anthony Holbornes Countess of Pembrokes Funeralle (1599), John Bulls Chromatic Pavan (with Galliard ), also called Queen Elisabeth's Pavan has come down to us, and was written on the queen's death (1603). Thomas Tomkins Sad Pavan: for these distracted times , which he composed after the execution of Charles I in 1649, is also a real tombeau .

Unparalleled success had Dowland Pavana Lachrimae from his collection Lachrimae, or Seaven Teares, Figured in Seaven Passionate Pavans (London, 1604), seven pavans for five viols and lute on the lute song "Flow my tears" ( "will flow with my tears") . The written out flowing decorations of the lute part are in this case not only to be understood as a flowery ornament, but look almost like a composed flow of tears. Dowlands Pavana Lachrimae can be considered the most famous of all pavans, there are also several ornate versions by William Byrd, Giles Farnaby , Sweelinck and others. a. Pavans by anonymous composers have also been preserved, such as Pierre Phalèse's ( Hortulus Cytharae , 1570) the Pavane des bouffons .

In the same epoch, composers such as William Brade (" Newe extralesene Paduanen ...", 1609 & 1614), Johann Hermann Schein ( Banchetto musicale , 1617) or Samuel Scheidt ( Ludi Musici , 1621) published Paduanen for instrumental ensembles in Northern Germany that were absolutely still seem danceable and probably also danced. Johann Rosenmüller also wrote suites with paduans ( "Paduanen, ...", Leipzig 1645, and " Studenten-Music", Leipzig 1654). Ornate pavans were also used in viola music in England ( Alfonso Ferrabosco the Younger , William Lawes ).

The first clavecinists in France wrote a few very beautiful pavans: Jacques Champion de Chambonnières (1601 / 2-1672), Henri Dumont and Louis Couperin (c. 1626-1661). These pavans are again much simpler than those of the English virginalists, they correspond to the traditional three-part structure, without excessive ornamentation, but internally animated, and tend towards the tombeau. Chambonnières likes to bring a composed change to a somewhat livelier tempo (e.g. Pavane " L'entretien des Dieux " in: Pièces de Clavessin I ). A harmonically and melodically particularly perfect example of a tombeau pavane is Louis Couperin's only pavane in the very unusual and ethereal key of F sharp minor (in the Bauyn manuscript ) at the time. It stands at the end of the era and could be interpreted as the last swan song for the entire genre.

Composers who composed pavans

Joan Ambrosio Dalza (first, mentioned Venice 1508), Pierre Attaingnant (around 1494–1552), Luis Milán (around 1500–1561), Enríquez de Valderrábano (around 1500– after 1557), Diego Pisador (around 1508–1557), Claude Gervaise (around 1510 - after 1558), Tielman Susato (around 1510/15 - after 1570), Antonio de Cabezón (1510–1566), Innocentio Alberti (around 1535-1615), Anthony Holborne (around 1545–1602), William Byrd (1543–1623), Thomas Morley (around 1557–1602), Peter Philips (around 1561–1628), John Bull (around 1562–1628), Giles Farnaby (around 1560–1640), John Dowland (around 1563–1626 ), Thomas Tomkins (around 1572–1656), Orlando Gibbons (1583–1625), Jan Pieterszoon Sweelinck (1562–1621), William Brade (1560–1630), Johann Hermann Schein (1586–1630), Samuel Scheidt (1587– 1654), Jacob van Eyck (around 1590–1657), Johann Rosenmüller (around 1619–1684), Jacques Champion de Chambonnières (1601 or 1611–1672), Henri Dumont (1610–1684), Louis Couperin (1626–1661), Gaspar Sanz (1640-1710).

Excerpt from a Pavane by Pierre Attaignant , around 1530

See also: historical dance

Empathic compositions

Since the late 19th century, sympathetic compositions or allusions to the Pavane have been found in the work of some composers, both in art and light music. Well-known examples are:

Varia

Pavane is also the title of a classic science fiction novel by Keith Roberts from 1968, which has an alternative development of the story at the time of Elizabeth I as the plot.

Sources and literature

  • Willi Apel : The dance collection of Attaingnant , Byrds Pavanen and Galolzen , Morley and Mundy , Bull , in: History of organ and piano music until 1700. Ed. By Siegbert Rampe. Bärenreiter, Kassel 2004 (originally 1967), pp. 232–235 (Attaingnant), pp. 247–253 (Byrds Pavanen ...), pp. 288–289 (Morley), pp. 298–306, of which p. 304-305 (Bull, Pavanen).
  • 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, (privilege of November 22, 1588) = orchésography. Reprint of the 1588 edition. Olms, Hildesheim 1989, ISBN 3-487-06697-1 .
  • Pierre Attaingnant: Quatorze Gaillardes neuf Pavennes, sept Branles et deux Basses Dances le tout reduict de musique en la tabulature du jeu d'Orgues Espinettes Manicordions et telz semblables instrumentz musicaulx ... (spring 1531), in: Keyboard Dances from the earlier sixteenth century ( Corpus of Early Keyboard Music 8), ed. by Daniel Heartz , American Institute of Musicology, 1965.
  • Hans Dagobert Bruger (Ed.): Pierre Attaignant, two- and three-part solo pieces for the lute. Möseler Verlag, Wolfenbüttel / Zurich 1926, pp. 2–5, 9, 15, 22 f., 25–27, 29, 32 f. and 35.
  • John Bull, Keyboard Music I ( Musica Britannica 14) and Keyboard Music II (Musica Britannica 19) , ed. by J. Steele u. Francis Cameron, rev. by Alan Brown, London: Stainer & Bell, 1960/2001 & 2016.
  • William Byrd: My Ladye Nevells Booke of Virginal Music . Hilda Andrews (ed.). Dover Publications, New York 1969, ISBN 0-486-22246-2 .
  • Antonio de Cabezón, keyboard music - Obras de Musica para tecla, arpa y vihuela , ed. v. MS Kastner, Mainz et al .: Schott, 1951, rev. 1979.
  • Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  • Rainer Gstrein: Pavane. In: Concise dictionary of musical terminology . Vol. 5, ed. by Hans Heinrich Eggebrecht and Albrecht Riethmüller , editor Markus Bandur, Steiner, Stuttgart 2001 ( digitized version ).
  • The Fitzwilliam Virginal Book (Revised Dover edition), JA Fuller Maitland and W. Barclay Squire, corr., Ed. And Preface by Blanche Winogron, New York: Dover Publications 1979–1980, ISBN 0-486-21068-5 .
  • Manuscript Bauyn (3 vols.), Première partie: Pièces de Clavecin de Jacques Champion de Chambonnières , deuxième partie: Pièces de Clavecin de Louis Couperin , Facsimile, prés. by Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.
  • Thomas Tomkins: Keyboard Music . ( Musica Britannica 5), ed. By Stephen D. Tuttle, London: Stainer & Bell, 1955 (rev. 2010).

Web links

Individual evidence

  1. "La dicte pavane n'a pas esté abolie & mise hors d'usage du tout, & crois qu'elle ne le sera iamais, vray est qu'elle n'est pas si fréquentee que par le passé ...." ("Said Pavane has not been abolished and is out of use, and I believe that it never will be; the truth is that it is not danced as often as it used to be ..."). See: Thoinot Arbeau, Orchésographie ... , Langres: Jehan des Preyz, 1589/1596, f. 28v.
  2. Thoinot Arbeau, Orchésographie ... , Langres: Jehan des Preyz, 1589/1596, f. 28v. Use at weddings could be a typical French custom.
  3. Marco Facoli, Collected Works , ed. By Willi Apel, CEKM 2, American Institute of Musicology, 1963, pp. 12-22 (Padoana prima - quarta).
  4. ^ Il Primo Libro d'Intavolatura di Balli d'Arpicordo di Gio. Maria Radino Organista in S. Gio. di Verdara in Padova, nuovamente composti, & con ogni diligenza stampati. In Venetia, Appresso Giacomo Vincenti, MDXCII. Reissued as No. 33 of Corpus of early keyboard music , American Institute of Musicology, 1968, pp. 12-19.
  5. The Jacob Paix Tablature: "A beautifully utilizable and usable organ tablature book". Translated and transcribed by Sherry Rudolph Seckler. Dissertation The University of Iowa, December 1990, p. 559 ff.
  6. ^ Antonio Rotta: Intabolatura de Lauto. Venice 1546.
  7. Hans Dagobert Bruger (Ed.): Pierre Attaignant, two- and three-part solo pieces for the lute. 1926, pp. 26 f., 32 ( Pavane ) and 35.
  8. ^ Diccionario […] por la Real Academia Española. Volume 5. 1737, p. 169.
  9. Hans Dagobert Bruger (Ed.): Pierre Attaignant, two- and three-part solo pieces for the lute. Möseler Verlag, Wolfenbüttel / Zurich 1926, p. 32.
  10. "Depuis peu de temps ils ont apporté une qu'ils appellent la Pavane d'Espagne, laquelle se dance decoupee avec diversité de gestes, & parce qu 'elle à (sic!) Quelque conformité avec la dance des Canaries, ... , & tels decoupements & mouvemens de pieds alloy faicts, moderent la gravité de la pavane, ... ". Thoinot Arbeau, Orchésographie ..., Langres: Jehan des Preyz, 1589/1596, f. 33 r. (More detailed description of the Pavane d'Espagne on: f. 96v-97).
  11. Original: “Le Gentil-homme la peult dancer ayant la cappe & lespee: Et vous aultres vestuz de vos longues robes, marchants honnestement avec une gravité posee. Et les damoiselles avec une contenance humble, les yeulx baissez, regardans quelquesfois les assistans avec une pudeur virginale. Et quant à la pavane, elle sert aux Roys, Princes & Seigneurs graves, pour se monstrer en quelque jour de festin solemnel, avec leurs grands manteaux & robes de parade. Et lors les Roynes, Princesses, & Dames les accompaignent les grands queües de leurs robes abaissees & traisnans, quelquesfois portees par damoiselles. (Et sont lesdites pavanes jouees par haulbois & saquebouttes qui l'appellent le grand bal, & la font durer jusques à ce que ceux qui dancent ayent circuit deux ou trois tours la salle si mieulx ils n'ayment la dancer par marches & desmarches. ) On se sert also desdictes pavanes quant on veult faire entrer en une mascarade chariotz triumphantz de dieux & deesses, Empereurs ou Roys plains de majesté. » Thoinot Arbeau, Orchésographie , 1589, f.29v.
  12. James Tyler: A Guide to Playing the Baroque Guitar. Indiana University Press, Bloomington and Indianapolis 2011, ISBN 978-0-253-22289-3 , pp. 33 and 96-100 ( Pavaniglia con parti variate by Giovanni Foscarini).
  13. James Tyler (2011), p. 33.
  14. See for example Adalbert Quadt : Guitar music of the 16th – 18th centuries. Century. According to tablature ed. by Adalbert Quadt. Volume 1-4. Deutscher Verlag für Musik, Leipzig 1970 ff .; 2nd edition ibid 1975-1984, volume 1, p. 14 ( Pavaniglia with variations from Terzo libro della Chitarra Spagnola from 1629).
  15. ^ Only the intabulation and variations are from Cabezón, not the original. The piece was published posthumously in 1578 in Obras de Musica para tecla, arpa y vihuela ; New edition in: Antonio de Cabezón, Claviermusik - Obras de Musica para tecla, arpa y vihuela , hrg. v. MS Kastner, Mainz et al .: Schott, 1951, rev. 1979, pp. 12-14.
  16. No. CXXXIX., In: The Fitzwilliam Virginal Book (Revised Dover edition), 2 vols., JA Fuller Maitland and W. Barclay Squire, corr., Ed. And Preface by Blanche Winogron, New York: Dover Publications 1979-1980 , Vol. 2, pp. 131ff.
  17. James Tyler (2011), pp. 33-36.
  18. ^ Thoinot Arbeau, Orchésographie, 1589, f.96v - 97r.
  19. In contrast to the Pavane d'Espagne (see above).
  20. Thoinot Arbeau, Orchèsographie , 1589, f.28v - f.33v. See also the following website with the facsimile of Arbeau's Orchésographie , 1589: http://imslp.org/wiki/Orchésographie_(Arbeau,_Thoinot)
  21. Thoinot Arbeau, Orchèsographie , 1589, f.29v and f.33v.
  22. Willi Apel , "Byrds Pavanen und Galolzen", in: History of Organ and Piano Music up to 1700 , published. and afterword by Siegbert Rampe, Kassel: Bärenreiter, 2004 (originally 1967), pp. 247-253 (Byrd).
  23. Willi Apel , "Morley and Mundy", and "Bull", in: History of Organ and Piano Music until 1700 , published. and afterword by Siegbert Rampe, Kassel: Bärenreiter, 2004 (originally 1967), pp. 288–289 (Morley), pp. 304–305 (Bull, Pavanen).
  24. The actual Pavana Lachrimae is called in the collection: "Lachrymae antiquae". It must be said that the seven pavans in this collection are not variations in the actual sense of the word, but rather independent pieces, each with a different harmonic progression, etc. Their names are: Lachrimæ Antiquae (Old Tears) , Lachrimæ Antiquae Novæ (New Old Tears), Lachrimæ Gementes (Sighing Tears), Lachrimæ Tristes (Sad Tears), Lachrimæ Coactae (Common Tears), Lachrimæ Amantis (Tears of Lovers), Lachrimæ Veræ (Real Tears).
  25. See for example Adalbert Quadt : Guitar music of the 16th – 18th centuries. Century. According to tablature ed. by Adalbert Quadt. Volume 1-4. Deutscher Verlag für Musik, Leipzig 1970 ff .; 2nd edition ibid 1975-1984, volume 1, p. 5 ( Pavane des bouffons with subsequent Gagliarde ).
  26. Manuscript Bauyn (3 vols.), Deuxième partie: Pièces de Clavecin de Louis Couperin , Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, pp. 145f.
  27. See for example Johann Ambrosio Dalza: Pavana alla Ferrarese, Saltarello, Piva. (Petrucci - Venezia 1508). In: Ruggero Chiesa (ed.): Antologia di Musica Antica per liuto, vihuela e chitarra. Volume 1. Edizioni Suvini Zerboni, Milan 1969, pp. 6-13.
  28. Keith Roberts: Pavane or the momentous assassination of Elizabeth I . Heyne, Munich 1977, ISBN 3-453-06224-8 .