Community hub
0 subscribers8 pages, 0 posts
Recent from talks
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Welcome to the community hub built to collect knowledge and have discussions related to Passepied.
Nothing was collected or created yet.
Passepied
View on Wikipediafrom Wikipedia
The passepied (French pronunciation: [pasˈpje], "pass-foot", from a characteristic dance step) is a French court dance. Originating as a kind of Breton branle, it was adapted to courtly use in the 16th century and is found frequently in 18th-century French opera and ballet, particularly in pastoral scenes, and latterly also in baroque instrumental suites of dances. In English the passepied has been spelled "paspy" as well as "paspie" or "paspe", phonetic approximations of the French pronunciation.
History
[edit]The earliest historical mention of the passepied was by Noël du Fail in 1548, who said it was common at Breton courts. François Rabelais and Thoinot Arbeau, writing later in the 16th century, identify the dance as a type of branle characteristic of Brittany. At this time it was a fast duple-time dance with three-bar phrases, therefore of the branle simple type.[1] Like many folk-dances it was popular at the court of Louis XIV.[2]
The passepied was remodelled by Jean-Baptiste Lully as a pastoral concert dance, first appearing in the 1680s as a faster minuet.[3] It is accounted the fastest of the triple-time dances of the time, usually with a time signature of 3
8 (also occasionally 6
8 or 3
4), its phrases starting upon the last beat of the measure. Its phrasing had to divide into four measures to accommodate the four characteristic tiny steps over two measures. It used the steps of the minuet, which Lully had long before similarly adapted, to quite different effect, moving lightly and tracing elaborate patterns upon the floor.[4]
After this the passepied appeared in a great many theatrical productions, including those of Jean-Philippe Rameau. It is found as late as 1774 in Christoph Willibald Gluck's Iphegenia in Aulis.[2]
Writing in 1739 Johann Mattheson described the passepied as a fast dance, with a character approaching frivolity, for which reason it lacks "the eagerness, anger, or heat expressed by the gigue". Italians often used it as a finale for instrumental sinfonie.[5]
Passepieds occasionally appear in suites such as J.S. Bach's Orchestral Suite No. 1 and Partita No. 5 in G major, or dramatic music such as his French Overture for harpsichord. There are often two Passepieds in minor and major keys to be played in the order I, II, I, or else passepieds occur in contrasting pairs, the first reappearing after the second as a da capo.[1] It also appeared as a movement in Henry Purcell's opera, Dioclesian,[6][n 1] and hundreds of other Baroque compositions.[citation needed]
Revivals
[edit]Léo Delibes wrote a passepied as part of his incidental music for the play Le roi s'amuse by Victor Hugo. More modern examples include:
- The fourth and final movement of Claude Debussy's Suite bergamasque for piano
- The third movement of Igor Stravinsky's Symphony in C, which consists of a minuet, passepied, and fugue
- The second number in act 2 of Sergei Prokofiev's ballet Cinderella
- The first of five dances in the ball scene of Miklós Rózsa's Madame Bovary
- The first of five dances in the third movement, "Révérences engrenées, premier pentacle", of Henri Pousseur's Jardinet avec automates for piano
- The third movement of Christopher Rouse's orchestral ballet Friandises
- The fourth movement of the Garden of the Senses Suite in part 2 of Michael Gandolfi's The Garden of Cosmic Speculation
- The 2nd piece of Jean-Michel Blais's 2022 album Aubades
Notes
[edit]- ^ Several PDF scans of this publication may be found on Henry Purcell's IMSLP page. Page 118 of the original publication corresponds to the 130th page of the 196-page colour scan, and pp. 118–19 are both found on the 62nd page of the 89-page black-and-white scan (which is done "two pages up") where the title may be seen in archaic spelling as "paſpe" (the letter ſ being the archaic long s, used only in lowercase, also found on the publication's title page, viz. "THE Vocal and Inſtrumental MUSICK OF THE PROPHETESS, OR THE HISTORY OF DIOCLESIAN. COMPOSED By Henry Purcell, Organiſt of Their MAJESTIES Chappel, and of St. Peters Weſtminſter", in the printer's name "J. Heptinſtall", and indeed throughout the publication, whereas in modern editions this letter is ordinarily changed without comment to short s). See List of compositions by Henry Purcell, Z 627 for the modern spelling. Alfred Deller (Volume Two) – Music Of Henry Purcell, a compilation album released in 2008, also denotes passepied as both "paspe" and "passepied" according to its 5th disc (previously issued on LP as Vanguard / The Bach Guild BG-682) and its respective 5th track.
References
[edit]- Mattheson, Johann (April 1958). "Johann Mattheson on Affect and Rhetoric in Music (I)". Journal of Music Theory. 2 (1). Translated by Hans Lenneberg: 47–84. JSTOR 842930.
- Sutton, Julia (1985). "The Minuet: An Elegant Phoenix". Dance Chronicle. 8 (3/4): 119–152. doi:10.1080/01472528408568908.
Footnotes
- ^ a b Little, Meredith Ellis. 2001. "Passepied [passe-pied, paspy, passe-pié]". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- ^ a b Scholes, Percy A. 1970. The Oxford Companion to Music, tenth edition, edited by John Owen Ward. Oxford and New York: Oxford University Press.
- ^ Sutton 1985, p. 146.
- ^ Little, Meredith; Jenne, Natalie (2001). Dance and the Music of J.S. Bach. Bloomington IN: Indiana University Press. ISBN 0253214645.
- ^ Mattheson 1958, p. 64.
- ^ Purcell, Henry. 1691. The Vocal and Instrumental Musick of the Prophetess, or the History of Dioclesian. London: Printed by J. Heptinstall, for the Author. pp. 118-9.
External links
[edit]
Passepied
View on Grokipediafrom Grokipedia
The passepied is a lively Baroque dance of French origin, characterized by quick, light steps that resemble a faster version of the minuet, typically performed in triple meter such as 3/8 time and beginning on the last beat of the measure.[1] Originating as a folk dance among Breton peasants and sailors in the 16th century, it features intricate footwork where the feet cross and recross while gliding forward, often tracing elaborate patterns with a sense of frivolity and rhythmic playfulness.[2] By the 17th and 18th centuries, it had evolved into a staple of courtly and theatrical repertoires, commonly appearing as a movement in instrumental suites between the sarabande and gigue.[3]
Historically, the passepied first gained mention in 1548 at Breton courts as a type of branle, a circle dance, before being adapted for aristocratic use and introduced to Paris street performances around 1587.[2] It rose to prominence during the reign of Louis XIV, where composer Jean-Baptiste Lully remodeled it in the 1680s as a brisk counterpart to the minuet for operas and ballets, emphasizing its peasant roots while refining its elegance for the French court.[2] The dance spread to England by the early 18th century, influencing composers like François Couperin, who incorporated variations, and Johann Sebastian Bach, who featured it in works such as Orchestral Suite No. 1 in C major and the Partita No. 5 in G major for keyboard. Later figures like Jean-Philippe Rameau and Christoph Willibald Gluck continued its use in theatrical contexts, such as Rameau's operas and Gluck's Iphigénie en Aulide (1774).[2]
Musically, the passepied is marked by its fast tempo, short phrases often derived from three-bar structures extended to four measures, and rhythmic complexities including hemiolas and cross-rhythms that create tension between steps and meter changes, such as shifts from 6/8 to 6/4.[4] Typically in two to four parts with repeats, the first sections remain in the major key while later ones shift to the relative minor, sometimes as a contrasting "trio" or second passepied. This form's enduring appeal lies in its blend of folk vitality and courtly sophistication, making it a key example of how Baroque dance movements informed the structure and expression of classical music.[2]
Origins and Characteristics
Historical Origins
The passepied originated as a type of Breton branle, a traditional circle or line dance performed in communal settings among the folk of Basse-Bretagne (Lower Brittany) during the 16th century.[5] This rustic form was particularly associated with sailors in the region, reflecting the seafaring culture of coastal Brittany where such dances served as social and recreational activities.[3] The earliest known reference to the dance appears in 1548, described by Noël de Fail as a lively courtly entertainment derived from Breton traditions.[5] By the late 16th century, the passepied had spread beyond its rural roots, with its first documented performance in Paris occurring in 1587, introduced by street dancers who brought the energetic Breton style to urban audiences.[3] Thoinot Arbeau's Orchésographie (1589) further documents it as the "trihory" or passepied, a variant of the branle characterized by repeated step patterns in duple meter, emphasizing its origins in Brittany's folk practices.[5] These early accounts highlight the dance's communal and improvisational nature, performed in groups with simple, repetitive formations typical of regional branles. The French aristocracy began adapting the passepied from its rustic, folk origins into a more refined courtly form during the late 16th century, transforming its lively, skipping motions—evocative of agile seafaring movements—into a structured social dance suitable for noble gatherings.[3] This evolution preserved the dance's energetic essence, rooted in Breton traditions of quick footwork and group participation, while elevating it for elite performance contexts.[5]Musical Characteristics
The passepied is typically notated in 3/8 time, though examples in 6/8 also occur, establishing a compound duple meter that contributes to its buoyant, skipping quality, and typically beginning on an upbeat such as the last beat of the measure.[2] This rhythmic foundation, derived from its roots as a Breton branle, supports a lively propulsion through even divisions of the beat.[4] In the Baroque era, the passepied maintained a moderately fast tempo, often faster than that of the minuet among triple-meter dances, with modern interpretations placing the primary beat around 120-140 pulses per minute to capture its fleet character.[6] Johann Mattheson characterized it in 1739 as a quick movement approaching frivolity, deliberately avoiding the intense drive or passion found in dances like the gigue.[7] This tempo fosters a sense of playful lightness, evoking a gliding rather than forceful motion. Most passepieds follow a binary form with an AABB structure, featuring balanced phrases typically grouped in threes to align with the meter.[8] Composers enhanced rhythmic vitality through hemiolas and cross-rhythms, often notated by temporary meter shifts such as from 6/8 to 6/4, creating tension and release without disrupting the overall flow.[4] Melodically, the passepied employs light, playful motifs that emphasize upbeats and syncopations, eschewing heavy downbeat accents to reinforce its airy, effervescent mood.[9] These elements prioritize graceful contours over dramatic contrasts, underscoring the dance's pastoral elegance.[2]Choreography and Steps
The passepied was typically performed by couples or small groups in a light and agile manner, emphasizing quick, skipping steps that involved the feet crossing and recrossing while gliding forward.[10] These steps, often executed as a series of tiny, rapid movements such as pas de bourrée variations, contributed to the dance's lively and buoyant character, with dancers maintaining an upright posture and minimal elevation to convey grace and frivolity.[11] Precise footwork was paired with fluid arm movements held in elegant, curved positions, adhering to the formal etiquette of Baroque court dance.[12] Choreography frequently featured formations in lines, circles, or symmetrical couple patterns, allowing for agile progression across the floor. In Raoul Auger Feuillet's 1710 notation for Le Passepied à quatre, two couples perform binary-form figures over 64 bars in 6/8 meter, including counterclockwise and clockwise circling (8 bars total for the A strain), approaching and retreating with back-to-back crosses (8 bars for the B strain), and wheeling turns while taking hands (repeating the A and B strains).[13] Step sequences, consisting of repeated patterns adjusted for direction, were executed independently of musical repeats to maintain rhythmic syncopation and forward momentum.[13] Dancers wore elaborate courtly attire, such as flowing skirts and waistcoats for women and men respectively, which facilitated the dance's emphasis on rhythmic precision and harmonious group coordination without restricting the subtle crossings and glides.[12]Role in Baroque Music
In French Court Music
The passepied gained prominence in 17th-century French court music through its frequent inclusion in the operas and ballets composed by Jean-Baptiste Lully, who served as Surintendant de la musique de la chambre du roi from 1661 onward, shaping the repertoire for royal entertainments.[14] Under Lully's direction, the dance form became a staple in theatrical works performed at court venues, including early Versailles gatherings in the 1660s, where it contributed to the spectacles that embodied Louis XIV's vision of aristocratic splendor and joyful diversion.[15] For instance, Lully's Ballet de Xerxès (1660), staged during the king's early reign, features passepied movements alongside minuets, highlighting its role in multifaceted ballet suites that blended Italian influences with emerging French stylistic norms. A notable example appears in Lully's opera Persée (1682), where a passepied in the Prologue (Act I, no. 1) expresses joy among the Followers of Virtue, alternating with two vocal stanzas set to the same music to create a dynamic interplay between dance and song.[16] This structure, involving six female dancers as indicated in the 1703 and 1710 librettos, exemplifies the passepied's integration into operatic divertissements, providing instrumental interludes that punctuate the narrative without overlapping vocal elements.[16] Such usages extended the dance's presence across Lully's tragédies en musique, where it appeared in works from the 1670s to the 1680s, reinforcing its status as a lively counterpart to more stately forms like the sarabande.[17] In the context of ballets de cour and operatic entr'actes, the passepied served to enhance dramatic transitions, offering rhythmic vitality in 3/8 time that contrasted with slower dances and invigorated the overall spectacle.[16] Lully's compositional approach standardized the passepied within orchestral suites, adopting a binary form with strains typically 8–16 bars long and hemiola cadences, which facilitated its reuse in courtly divertissements and solidified its place as a symbol of refined, exuberant entertainment at Versailles from the 1660s.[17] This evolution under Lully's influence not only elevated the passepied from its Breton origins but also ensured its prominence in the French Baroque theatrical tradition through the early 18th century.[17]In Suites by Other Composers
The passepied gained prominence in German and English Baroque instrumental suites during the early 18th century, where composers adapted the dance for keyboard and orchestral settings, often incorporating it as a lively movement following the sarabande to provide rhythmic contrast.[18] In these contexts, the passepied retained its characteristic 3/8 meter and quick tempo but was frequently modified with added counterpoint and polyphonic textures to align with the more intricate styles of Northern European music.[19] Johann Sebastian Bach prominently featured the passepied in both his orchestral and keyboard suites, treating it as a spirited conclusion to multi-movement works. In Orchestral Suite No. 1 in C major, BWV 1066 (ca. 1725), the suite ends with two paired passepieds, scored for two oboes, bassoon, strings, and continuo, which emphasize imitative entries and contrapuntal interplay while maintaining the dance's buoyant energy.[18] Similarly, in English Suite No. 5 in E minor, BWV 810 (ca. 1715–1720), the keyboard collection features Passepied I and II following the sarabande, where Bach employs binary form with varied ornamentation and fugal elements in the second passepied to enhance its polyphonic depth.[20] George Frideric Handel incorporated the passepied into his harpsichord and orchestral suites, adapting it with elaborate ornamentation to suit English performance practices and audiences. In Water Music Suite No. 1 in F major, HWV 348 (1717), the passepied appears as a brisk orchestral movement, featuring dotted rhythms and horn calls that add a festive, outdoor character. For keyboard, Handel composed standalone passepieds such as those in C major (HWV 559) and A major (HWV 560, ca. 1720), which showcase idiomatic harpsichord figurations and graceful phrasing, often integrated into his broader suite-like collections.[21] The passepied also spread among other German composers, notably Georg Philipp Telemann, who used it in his overture-suites to blend French influences with German contrapuntal traditions. In Overture-Suite in G minor, TWV 55:g8 (ca. 1720–1730), Telemann places a passepied toward the end, employing mixed meters and hemiolas for rhythmic vitality while following the sarabande to heighten contrast within the suite's dance sequence.[19] These adaptations, common from the 1710s onward, typically involved slight tempo accelerations and enriched inner voices to accommodate the era's preference for expressive polyphony.[22]Notable Examples
In Operas and Ballets
The passepied served a prominent role in French Baroque operas and ballets, particularly within divertissements, where it provided energetic interludes that contrasted with more lyrical arias and recitatives. Its lively triple meter and quick tempo created moments of vivacity and collective movement, often accompanying group dances that advanced the dramatic narrative or offered celebratory relief. In these staged works, the dance typically featured choreographed ensembles evoking pastoral or festive scenes, enhancing the opulent spectacle of the tragédie en musique genre.[16] In Jean-Baptiste Lully's Persée (1682), a passepied appears in the Prologue, where it alternates with vocal stanzas in a sequence that integrates singing and dancing to depict the Followers of Virtue, Innocence, and the Innocent Pleasures demonstrating their joy. This placement underscores the passepied's function as a rhythmic, communal dance that heightens the scene's joyful momentum, with the orchestra supporting synchronized steps.[16] Jean-Philippe Rameau further developed the passepied's dramatic utility in his operas, incorporating it into exotic and mythological contexts. For instance, in Castor et Pollux (1737), two passepieds feature in Act IV, scene 4, as part of a choral and danced sequence behind the theater, where shades invoke the protagonists' return, blending the dance's buoyant energy with the opera's themes of resurrection and harmony. Here, the passepied contributes to the divertissement's role in evoking ensemble vitality, often with stylized group choreography that reflects the work's emotional resolution.[23] Christoph Willibald Gluck included a passepied in his opera Iphigénie en Aulide (1774), using it in a ballet sequence to provide spirited contrast within the dramatic structure. Although less common in Italian-style operas, the passepied occasionally appeared in hybrid works to provide characterful breaks, aligning with its French origins for moments of spirited contrast. Its use in these contexts emphasized the dance's adaptability, allowing composers to punctuate serious drama with accessible, rhythmic diversions that engaged both performers and audiences in shared exuberance.[24]Instrumental Works
In Johann Sebastian Bach's Partita No. 5 in G major, BWV 829 (c. 1730), the two Passepieds serve as light concluding movements, characterized by their binary form and subtle imitative entries between the upper and lower voices that enhance their playful contrapuntal texture.[25] These movements evoke the dance's brisk 3/8 meter while incorporating Bach's idiomatic keyboard writing, with the imitation providing a sense of dialogue without overwhelming the partita's elegant style. Bach also featured a passepied in his Orchestral Suite No. 1 in C major, BWV 1066 (c. 1725), as a lively movement in the suite's dance sequence.[26] Georg Philipp Telemann's Essercizii musici (1740) includes a Passepied in the Keyboard Suite in F major, TWV 32:4, which exemplifies early galant transitions through its simplified melodies and lighter textures compared to stricter Baroque counterpoint.[27] This suite movement bridges the ornate late-Baroque style with emerging galant simplicity, using the Passepied's inherent rhythmic vitality to highlight idiomatic writing in a solo keyboard setting. In performance, Baroque instrumental Passepieds demand crisp articulation to delineate the dance's characteristic short-long rhythms and hemiolas, often achieved through bow retakes or detached strokes that maintain rhythmic drive without rushing the 3/8 meter.[28] Ensembles emphasize this drive via precise ensemble coordination, ensuring the light, skipping quality of the step is conveyed through energetic yet controlled phrasing.[29]Modern Revivals
20th-Century Reconstructions
The revival of the passepied in the 20th century emerged as part of the broader early music movement, which gained momentum in the 1920s and 1930s through efforts to authenticate historical performance practices using period instruments and notations.[30] This period saw initial explorations into Baroque dance forms, influenced by choreographers and educators who sought to integrate historical steps into modern pedagogy, laying groundwork for later reconstructions.[31] In the mid-20th century, particularly the 1950s, British dance historian Melusine Wood advanced the reconstruction of Baroque dances, including the passepied, through her publications Some Historical Dances (1952) and More Historical Dances (1956). Wood meticulously decoded the Beauchamp-Feuillet notation system—developed in the late 17th century—to outline authentic steps, such as the characteristic skipping pas de bourrée, enabling performers to replicate the dance's ternary rhythm and gliding footwork with courtly precision.[32] Her work emphasized the passepied's distinction from its Breton folk roots, focusing on the elegant, measured execution required in French court contexts.[32] By the late 1970s, specialized ensembles contributed to performative revivals, notably Les Arts Florissants, founded in 1978 by harpsichordist William Christie. The group frequently performed compositions featuring passepied movements, such as those in Lully's opera Atys and Charpentier's Médée, collaborating with dance specialists to stage choreographed sequences that integrated reconstructed steps with live Baroque orchestration.[33] These efforts highlighted the passepied's role in divertissements, using original instrumentation to evoke the dance's lively yet refined character.[34] A primary challenge in these reconstructions involved transforming the passepied's energetic, folk-derived skipping into a stylized courtly form, demanding exact timing and posture that aligned with Baroque ideals of grace and proportion. Period instruments, such as the viol and transverse flute, proved essential in achieving the appropriate brisk tempo (often around 3/8 meter at a moderate allegro), preventing the dance from devolving into rustic vigor and instead capturing its aristocratic poise.[30]Contemporary Performances
In the 21st century, the passepied has been integrated into early music festivals through full reconstructions of Baroque suites and operas, emphasizing period instruments and choreography. For instance, the Boston Early Music Festival recorded Christoph Graupner's opera Antiochus und Stratonica in 2021, featuring a prominent passepied in Act III, Scene 11, performed by the festival's orchestra under directors Paul O'Dette and Stephen Stubbs.[35] This production highlighted the dance's lively triple-meter rhythm within a complete dramatic context, drawing international audiences to its biennial events.[36] Educational applications of the passepied have expanded through workshops and classes that teach its steps and musical phrasing, often using video analysis for precise reconstruction. Organizations like Early Music America promote Baroque dance training for musicians, incorporating passepied demonstrations to illustrate its quick, skipping steps derived from natural movements such as hopping and sliding.[4] Similarly, institutions such as the Old Town School of Folk Music in Chicago offer intermediate Baroque dance courses that include the passepied alongside other suite movements, enabling participants to perform to live or recorded music.[37] Video resources, like reconstructions of Guillaume-Louis Pécour's 1709 choreography danced in modern settings, further support self-guided learning of the dance's notation and execution.[38] Modern fusions of the passepied appear in multimedia and contemporary ballet, blending its Baroque essence with 21st-century media. The 2022 short film Passepied by composer Jean-Michel Blais explores a young dancer's obsession with the form, using original music and visuals to evoke its aristocratic origins in a raw, imaginative narrative.[39] Arion Orchestre Baroque performed Georg Philipp Telemann's Ouverture-Suite in E minor ("L'Omphale"), TWV 55:e8, featuring a bourrée alternated with passepied to showcase the dance's energetic contrast on period instruments.[40] Current trends leverage digital tools for the passepied's notation and global dissemination, enhancing accessibility since 2010. Platforms like the International Music Score Library Project (IMSLP) provide free downloads of historical scores, including Handel's Passepied in C major, HWV 559 and multiple Te deum excerpts, allowing musicians worldwide to study and perform without physical archives.[41] Online notation software such as Noteflight and Flat.io enables users to transcribe, edit, and share passepied arrangements collaboratively, while video-sharing sites host tutorials analyzing steps through Feuillet notation scans, fostering international workshops and virtual ensembles.[42][43] As of 2025, no major new staged revivals have emerged, though educational and digital resources continue to grow.References
- https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Passepied