"The allemande is a broken, serious, and well-constructed harmony, which is the image of content or satisfied spirit, which enjoys good order and calm."
Mattheson 1739[1]
Translated to mean ‘German,’ the allemande essentially originated as a German variant of the basse danse, with its earliest known documentation found in a 1521 dance manual published in London based on basse danses.[2] With rhythmic similarities to the bourree and the gavotte, the dance was popular in both the theatre and ballroom, although it was short lived as by 1636, Mersenne wrote that ‘the allemande was no longer danced to but only played.’[3] In 17th century France, the allemande was rarely danced to, but instead recognised as a standard component in the instrumental suite, and was popular within harpsichord suites.
The instrumental allemande should contain a serious yet proud character and is described by Brossard as a ‘sort of grave, solemn music, whose measure is full and moving.’[4] It is not too dissimilar from the prelude with its free and improvisatory manner and elaborate ornaments. A tempo should therefore be chosen to accommodate these features, but also allow for the forward motion of shorter note values which drive the movement onwards.
Allemandes are most often written in binary form and are in common or cut time, although some feature a time signature of 2. A quaver or semiquaver upbeat is characteristic and should lead to the placement of the first downbeat, which is frequently the same note. Notes inégales should be applied to semiquavers in stepwise movement.
One choreography by Louis Pecour of an allemande from 1702 has survived today. The dance is for a couple and includes many springing steps and uses interlocking hand and arm gestures. It has very few similarities to the slower, processional instrumental allemande popular during this same period as it adopts a much faster tempo and more joyful character.
[1] Mattheson, J. (1981) Der vollkommene Capellmeister. [Translated E. C. Harriss]
[2] Little, M. E; Cusick, S. G. (2001) Grove Music Online: Allemande
[3] Mather, B. B. (1987) Dance Rhythms of the French Baroque
[4] Brossard, S. (1740) Dictionnaire de Musique. [Translated by J. Grassineau]
"The allemande is a broken, serious, and well-constructed harmony, which is the image of content or satisfied spirit, which enjoys good order and calm."
Mattheson 1739[1]
Translated to mean ‘German,’ the allemande essentially originated as a German variant of the basse danse, with its earliest known documentation found in a 1521 dance manual published in London based on basse danses.[2] With rhythmic similarities to the bourree and the gavotte, the dance was popular in both the theatre and ballroom, although it was short lived as by 1636, Mersenne wrote that ‘the allemande was no longer danced to but only played.’[3] In 17th century France, the allemande was rarely danced to, but instead recognised as a standard component in the instrumental suite, and was popular within harpsichord suites.
The instrumental allemande should contain a serious yet proud character and is described by Brossard as a ‘sort of grave, solemn music, whose measure is full and moving.’[4] It is not too dissimilar from the prelude with its free and improvisatory manner and elaborate ornaments. A tempo should therefore be chosen to accommodate these features, but also allow for the forward motion of shorter note values which drive the movement onwards.
Allemandes are most often written in binary form and are in common or cut time, although some feature a time signature of 2. A quaver or semiquaver upbeat is characteristic and should lead to the placement of the first downbeat, which is frequently the same note. Notes inégales should be applied to semiquavers in stepwise movement.
One choreography by Louis Pecour of an allemande from 1702 has survived today. The dance is for a couple and includes many springing steps and uses interlocking hand and arm gestures. It has very few similarities to the slower, processional instrumental allemande popular during this same period as it adopts a much faster tempo and more joyful character.
[1] Mattheson, J. (1981) Der vollkommene Capellmeister. [Translated E. C. Harriss]
[2] Little, M. E; Cusick, S. G. (2001) Grove Music Online: Allemande
[3] Mather, B. B. (1987) Dance Rhythms of the French Baroque
[4] Brossard, S. (1740) Dictionnaire de Musique. [Translated by J. Grassineau]
The Loure
Fig. 33 from Le Maître à Danser by Pierre Rameau (1725)
“[Loures are] slow and dotted, exhibit a proud and arrogant nature, on account of which they are beloved by the Spanish.”
Mattheson (1739) [1]
Often associated with gigues and forlanas, the loure originally referred to a type of bagpipe commonly recognised in Normandy during the 16th and 17th centuries, which may have been played to accompany folk songs and dances. The dance was then adopted as a French theatrical dance in the 1670’s and made many appearances in instrumental suites of the early 18th century.[2]
The loure embodies a more majestic and grander characterisation when compared to the gigue, which contains a livelier energy, and is linked to pastoral traditions, perhaps due to its folk origins. Written in a time signature of 6/4, 3/4 or 3, the dance is known for its unbalanced phrase lengths, which unlike forlanas, are usually 5 or 7 bars long. Loures are performed at a slow or moderate tempo, may be marked grave, and are therefore referred to as slow gigues. Pendulum markings differ significantly, with Uffenbach suggesting a tempo of minim=46, whereas D’Omzembray gives dotted minim=113. A suitable tempo should therefore be selected within the context of the performance, as many choreographies include fast elaborate sequences which would be difficult to dance if the tempo chosen was too fast.
The sautillant rhythm definitive of the gigue is used almost continuously throughout the loure, providing a gentle rock to the pulse. Emphasis should be placed on the downbeat, which may be over-dotted and sustained to provide a longer overall phrase for the dancers who are performing quick steps within this.[3] Hemiolas and other syncopated rhythms are characteristic towards the end of phrases and should therefore be stressed by using a stronger articulation.
Loures were performed to entertain audiences and show the capabilities of the dancer during ballets and operas. Whilst the music accompanying a loure may be tamer in terms of energy and pace when compared to a gigue, the choreography certainly is not. Dancers must be very skilled to perform the virtuosic steps including entrechâts (jumps where legs are beaten together mid-air), battements (rapid leg gestures moving from in front to behind the supporting led) and fast turns.[4] Whilst the gigue incorporates one step unit per bar of music, the loure uses two, which can include up to six separate steps that should be connected smoothly and performed clearly to ‘avoid clutter and business.’[5]
[1] Little, M; Jenne, N. (1991) Dance and the Music of J. S. Bach
[2] Little, M. (2001) Grove Music Online: Loure
[3] Hilton, W. (1986) Early Music, Vol. 14, No. 1: Dances to Music by Jean-Baptise Lully
[4] Little, M. (2001) Grove Music Online: Loure
[5] Little, M; Jenne, N. (1991) Dance and the Music of J. S. Bach