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Recuil des Contre-danses et Waltzes (179-?) - Louis Julien Clarchies
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Background
Throughout the eighteenth century, the contredanse was the most popular French dance. The contredanse was adopted from the English country-dance, which was introduced to the French court around 1680. There is discrepancy amongst scholars relating to the origin of the term contredanse. Cecil Sharp writes that the term “country-dance” originated with the English, as the dancers “invariably stand in couple opposite or over against one another.”[1] Thus, he believes the French term derived from pronouncing “country-dance” in the French manner. However, Mabel Dolmesch writes that the English derived “country-dance” from the Italian “contra-passo,” where men and women form a ring, and “move round with various steps to the left, and then to the right.”[2] She further asserts that the word “contra” or “counter” applies to the contrary motions of the partners, rather than the manner in which the couples are standing. Dolmesch concludes that the equivalent of “contrapasso” in French is “contredanse.”[3]
Of course, the French did make some modifications to the English style. While the English country-dance included circle, square, and longway formations, the French adopted only the longway formation. While the English often favored individuality in dance steps, the French preferred regularity. Resultingly, English dance publications included general advice for dance steps, leaving the dancers to improvise as they pleased. French publications indicated the steps for each figure of a dance. The music itself was composed differently in France, as well. Whereas the English began the dance music on the downbeat, the French danced across the bar, beginning the dance at the upbeat.[4]
By the middle of the eighteenth century, the contredanse had become more elaborate. The figure was danced nine times, “each repetition preceded by a different introduction.” Therefore, the tune consisted of two repeated sections, “the first, of eight bars, for the introductions; the second, of eight bars of more, for the figure.” Usually, the music was in duple meter, and in a major key.[5] In France, dancing was usually accompanied by the violin. Often, the dance-masters were violinists who wrote their own music and lead their own ensembles.[6]
This collection of contredanses includes compositions from obscure composer Louis Julien Clarchies himself, as well as from other composers. Many of the titles refer to Greek mythological characters, including "L’Anacréon," "La Driade," "La Bachante," and "Phrinée." In France, a circonstance was a work intended to celebrate state events, or arouse patriotism. "La Folie du Hameau" refers to Hamlet, and "La Ninon" might possibly refer to Ninon de Lenclos, a celebrated leader of Parisian society.
[1] Cecil Sharp, “The Country Dance,” The Musical Times 57 (1916): 24-25, correspondence to Mabel Dolmetsch, in response to her letter to the editor of The Musical Times, wherein she questioned Sharp’s explanation for the derivation of the term “contredanse,” originally given in the November issue of 1915.
[2] Mabel Dolmetsch, “The Country Dance,” The Musical Times 56 (Dec. 1915): 732, response to the editor, questioning Sharp’s November article, “The Country Dance.”
[3] Dolmetsch clarified her countered explanation of the derivation of the term “contredanse” in The Musical Times 57 (1916): 25.
[4] Freda Burford, Anne Day, “Contredanse,” Grove Music Online, ed. Laura Macy, accessed 14 February 2006, <http://www.grovemusic.com>
[5] Ibid.
[6] Rebecca Harris-Warrick, “Dance: 1630-1730,” Grove Music Online, ed. Laura Macy, accessed 14 February 2006, <http://www.grovemusic.com>
Bibliography
Title from title page: RECUEIL / Des / Contre-danses / ET WALZES
Genre: Instrumental dance music
Composer: Louis Julien Clarchies (most selections; also contains selections from other composers)
Premiere: N/A
Print in the UNT Collection: A Paris: Chez Frere, [179-?]
For further reading on Contredanses, see:
Burford, Freda and Anne Day. "Contredanse." Grove Music Online ed. Laura Macy. Accessed 14 February 2006. <http://www.grovemusic.com>
Dolmetsch, Mabel. "The Country Dance." The Musical Times 56, No. 874 (Dec. 1915): 732.
______________. "The Country Dance." The Musical Times 57, No. 875 (Jan. 1916): 25.
Harris-Warrick, Rebecca. "Dance: 1630-1730." Grove Music Online ed. Laura Macy. Accessed 14 February 2006. <http://www.grovemusic.com>
Sharp, Cecil. "The Country Dance." The Musical Times 57, No. 875 (Jan. 1916): 24-25.
Physical
Dimensions: 11 x 17.1 cm.
Conservation: Staining; bleed-through; bleed-across; frass; cockling.
Binding: Brown suede cover reading, "Contre danses et walzes." Spine reads same.
Comments: UNT ownership stamps; Kamin Dance Bookshop (NY) sticker.