Dance and music of court and theater: selected writings of Wendy Hilton 9780945193982

Table of contents :
Frontmatter
PREFACE TO THE SELECTED WRITINGS (page ix)
BOOK ONE: A Complete facsimile of the 1981 edition, Dance of Court & Theater: The French Noble Style 1690-1725
ACKNOWLEDGMENTS (page xii)
PREFACE TO BOOK ONE (page xiii)
PART ONE: The Noble Style of Dance in the Age of Louis XIV: General Background of Court and Theater
CHAPTER 1 Dance at the French Court, 1650-1715 (page 3)
CHAPTER 2 Five Theatrical Personalities, 1632-1729: Lully, Moliére, and Beauchamp; Pécour and Campra (page 23)
CHAPTER 3 Dance Types and Theatrical Technique, 1650-1715 (page 35)
CHAPTER 4 The Dancing Masters and Their Books, 1623-1725: Feuillet, Rameau, and Tomlinson (page 45)
PART TWO: An Analysis of The French Noble Style of Dance and Its Notation
Introduction To The Analysis Of Eighteenth Century Dance Sources (page 59)
CHAPTER 5 A Survey of the Components of the Dance (page 65)
CHAPTER 6 The Beauchamp-Feuillet System of Chorégraphie: The Representation of the Dancing Area, Spatial Figures, the Music in Dance Scores, Symbols for Foot Positions and Steps, Signs (page 85)
CHAPTER 7 The Theory of the Arm Motions and Their Notation (page 133)
CHAPTER 8 The Notation of Meter in Chorégraphie (page 149)
CHAPTER 9 The Steps in Their General Performance in Duple- and Triple-Meter (page 163)
CHAPTER 10 The Steps in More Complex Metrical Situations (page 239)
CHAPTER 11 Step-sequences, Tempi, and Expression (page 261)
CHAPTER 12 Technique of Etiquette (page 269)
CHAPTER 13 The Menuet According to Rameau (page 291)
APPENDICES
APPENDIX 1 Labanotation Examples (page 311)
APPENDIX 2 Exercises (page 327)
APPENDIX 3 Chronology of Political Events (page 331)
BIBLIOGRAPHY (page 335)
INDEX TO BOOK 1 (page 353)
BOOK TWO: Updated and Expanded Articles and a Ballroom dance à deux in Beauchamp-Feullet Notation (page 357)
PART ONE: A Dance for Kings: The Seventeenth-Century French Courante--Its solemn character, step-patterns, metric and proportional foundations (page 359)
PART TWO: Fifty-Six Dances to Music by Jean-Baptiste Lully (1632-1687): A Survey (page 377)
PART THREE:Aimable Vainqueur or The Louvre: Louis Pécour's ballroom danse à deux with the music by André Campra from Hesione in four-part score (page 437)
BIBLIOGRAPHY (page 447)
LIST OF ILLUSTRATIONS (page 452)
INDEX TO BOOK TWO (page 453)

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DANCE and MUSIC of COURT and THEATER

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Dance at the French Court, 1650-1715 Style: In seventeenth- and eighteenth-century France nobility of

The ideal mind and spirit was the ideal cultivated by the highest social classes: the nobility, the aristocracy, and the gentry. With the King as their epitome, the aristocracy were supposed to set an example to the rest of society as a personal obligation incurred by having more time and money than most people to devote to self-perfection. The ideal models for the nobleman were drawn from classical

Greece. The Greek gods and goddesses, all slightly larger than life but not possessing unfortunate extremes of exalted spirituality,

made perfect sense to seventeenth-century French esprit. To emulate the ancient Greeks one must be serene, have breadth of vision, a commitment to harmony and order, personal courage, and a distaste for passionate excess. Wit, a lively sense of irony, and a capacity for fun were all important attributes, both in the lexicon of Greek mythology and in the French interpretation. The dances created to reflect these ideals were not expressive of

the passions. Each created a particular atmosphere ranging through serenity, majestic grandeur, tenderness, and gaiety; the grandeur never becoming pomposity, the tenderness a yearning sentimentality, nor the gaiety, inelegance.

Personal Of the majesty of Louis XIV a court commentator wrote, presence “that terrifying Majesty so natural to the King.”’ A noble carriage and air was an inherent part of its possessor’s way of being. Essentially, a nobleman cultivated a personal presence at once alert and poised, open and relaxed, and, through these qualities, impres-

sive. Lessons in dancing, deportment, and the complexities of social etiquette were begun in early childhood, and it was part of a dancing master’s work to instruct his pupils in all these refinements.

Occasions Dance in the serious or noble style had two aspects for the for French courtiers. They performed social dances in the ballroom, dancing where it was usual for only one couple to dance at a time, and theatrical dances in court entertainments. In the latter the content of the dances approximated those composed for the ballroom, but the costumes were elaborate and symbolic of the dancers’ roles.

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& | - ae )

- The first figures of two popular danses a deux, ‘‘La Savoye’”’ and ‘‘La Mariée.”’ Recueil de dances composées par M. Pécour. Feuillet, Paris, 1700. :

Dance at the French Court, 1650-1715 | . | : 11

oa , The danses 4 deux were composed for the court by eminent

rae , _ Parisian masters. Each dance was choreographed to a particular _ - a , tune, usually a favorite from a theatrical entertaimment. Of the , many popular types of ballroom dances—the menuet, passepied, , aa Oo gigue, forlane, bourrée, gavotte, sarabande, and loure—only some

, | of the menuets and passepieds, relatively uncomplex choreog, , a , raphically, could be danced to any air of the dancers’ or musicians’ choosing. The other dances were very varied in their step

: , , content, and intricately related to their music. A dance usually | took between two and three minutes to perform, and only occa| a sionally would a step-sequence be repeated in the choreography.

Court Within the structure of court life, dancing alone with a partner life | before a crowd of spectators must have seemed quite unexcep, , tional. The formal life of children began at an early age. When oo : in company, children, dressed like adults, were expected to be-

| | Savoy. | | _ , , |

uo : . have in the manner of adults. Thus, through a disciplined social , , upbringing, young children were able to endure lengthy formal , encounters such as that experienced by the little Princesse de

ey 8 ths 1S gy | - . | ee wig ES EEE et a oe © webagh ile ts res ga

a MEM fe Sa 4 . | wae ad, =

Wie 2k , | *< concen * ay \ Ff ee a : a Le Duc de Bourgogne. , La Duchesse de Bourgogne. _

: Bibliotheque Nationale, Paris. a

, , | Bibliotheque Nationale, Paris. , From the engraving after Nicolas de Largillieres.

: Princesse The Princesse de Savoy, at the age of ten, was brought to court i: — de Savoy , by Louis to marry his grandson, the Duc de Bourgogne. The composure and stamina demanded of the child upon her arrival

| | at court followed hours of travel preceded by Mass. Her arrival , at Fontainebleau on November 5, 1696, is described by the , courtier and avid diarist, M. le duc de Saint-Simon:

12 . | Dance at the French Court, 1650-1715

The entire Court was assembled waiting to receive them on the horseshoe staircase, with the crowd standing below, a magnificent sight. The King led in the little princess, who

seemed to be emerging from his pocket, walked slowly along the terrace and then to the Queen-Mother’s apartments, which had been allotted to her, where Madame and her ladies were waiting. He himself presented the first of the Princes and Princesses of the Blood, asked Monseigneur

to name the others and to be sure to see that she was

greeted by all who had that right, and then went to rest... Monseigneur was thus left with the princess, both standing. He presented to her all those, men and women, who had come to kiss the hem of her dress, and told her whom she should kiss, that is to say, Princes and Princesses of the Blood, dukes and duchesses, and other tabourets [persons

whose rank permitted them to sit upon armless stools called tabourets] and Marshals of France and their wives. This ceremony lasted a good two hours.3

Grand bal The Duc de Bourgogne and the Princesse de Savoy were married

the following year, 1697. (Later they bore Louis’s eventual successor to the throne, Louis XV.) Saint-Simon describes the festivities:

On the Wednesday there was a grand ball in the gallery, superbly ornamented for the occasion. There was such a crowd, and such disorder, that even the King was inconvenienced, and Monsieur was pushed and knocked about in the crush. How other people fared may be imagined. No place was kept—strength or chance decided everything— people squeezed in where they could. This spoiled all the féte. About nine o’clock refreshments were handed round, and at half-past ten supper was served. Only the Princesses

of the Blood and the royal family were admitted to it. On :

the following Sunday there was another ball, but this time matters were so arranged that no crowding or inconvenience occurred. The ball commenced at seven o’clock and was admirable; everybody appeared in dresses that had not pre-

viously been seen. The King found that of Madame de Saint-Simon much to his taste, and gave it the palm over all the others. Madame de Maintenon did not appear at these balls, at least only for half an hour at each. On the following Tuesday all the Court went at four o’clock in the afternoon to Trianon, where all gambled until the arrival of the King and Queen of England. The King took them into the theatre, where Destouches’s opera of Jssé was very well performed. The opera being finished, everybody went his way, -and thus these marriage-fétes were brought to an end.4

Dance at the French Court, 1650-1715 13

The Order of the Dances at a Court Ball: the branles, danses a deux, and contredanses.

og ort eyarRee eee OSS OTE e Nes aero, Rha lhl Digs RN FS NED eg LES eee Jesfi

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, oo TY ey Ii i ==; dances performed in a linked line, the couples joining

PR Ng 1 BE etn ae _ up in order of rank. The order in which couples would

fii Bick cep eee bg eo Naty perform the danses a deux which followed was th ereby ae : Ae Ba Ae Se yay te Hl Bee clearly established in advance. Balls would end with ne eg we Eee ine Wma EEE ig contredanses, the communal, less formal and complex

wad RARER abe REREAD Arad hia) odds % dances introduced from England in the 1680s. The con-

Pa geee a NxA 744 became increasingly popular as the eighteenth oe i gos reeetredanses hy Aha? fp PHA a ee, oy century progressed. : aheed heeLEER PEE a eo ee ee ee Cee ee ot Rep’ FR tea Ow, SANS

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| ‘i . 2... 2s hdhUhLLhULU CU, Ll UC fd pucsayeids conte de ade bist 8 eR

tials “eee eee eee ee ee ee es ee ee ee pice ae ee

oO i rrrts—=“‘(#ESSC ECS i hrUmrrC— 4 .

: | Ode Peau cgamp ‘

| | CBRE | |

a _ Beauchamp’s signature. | f & : | The first figure of “Sarabande de M!' de Beauchamp.”’ The music is anonymous.

Five Theatrical Personalities, 1632-1 729 | 29 |

, _ Of Beauchamp’s work the dancing master Rameau writes: I cannot bestow too much Praise on the just Reputation he

acquired: His first Essays were Master-strokes, and he ,

always equally shared the Suffrages the Musician daily

oe gained. He was learned and curious in his Compositions, wine , and stood in need of Persons capable of executing what he

aon , | had invented. Happy was it for him that there were at - _ Paris, and at Court these most able Dancers, viz. St. Andre, | a Pe , Favier the Elder, Favre, Boutteville, Dumiraille, and , Germain: But how excellent soever their Talents were, the _

| and L’Estang.!4 | | rs

, Palm, by their own Concession, was reserved for Pécour

, Louis — 7 It was Pécour who inherited the achievements of Lully and | Pécour Beauchamp at the Opéra. He was, in fact, Beauchamp’s succes-

sor at the Académie Royale de Musique. Pécour made his debut —

, , as a dancer at the Académie in 1673, performing in Lully’s . | first tragédie-lyrique, Cadmus. He proved an outstanding and : oe versatile performer and Rameau was later moved to describe his

: : qualities with enthusiasm: - i es , ) ee Pécour appeared in all Characters with a Grace, Justness ss : _ and Activity; and both [Pécour and L’Estang were] so , , : agreeable in their Conversations, that the greatest Lords : took a Pleasure to have them in their Companies.

) And as a choreographer: |

| | He stood in need of all his Qualifications to succeed , worthily the former Master, which he compleated by co off those same Ballets which Beauchamp had before

| | | performed.}8 an | |

, i; ss

, es the infinite Variety and new Charms with which he set

[Re | | : _ S&S sl | 2 : : — eer ri‘_isis—COOOOO OC

: Dr =s=CisiCEC.t— , : , = rtrsrC=i‘ ‘e.rCtCtist;siti Be , os | ree | , | 0. AWE (oe : Whi g7 £ ‘André Campra. 1660-1744 — | , | Bibliothéque Nationale, Paris. Five Theatrical Personalities, 1632-1729 | | : $1

Opéra- The works referred to as opéra-ballets were originally known ballet simply as ballets, which nowadays refers to theatrical entertainments involving music, dance, and scenic effects, but without

verses. However, verses were an essential ingredient of the opéraballet, as they were in the tragédie-lyrique. The tragédie-lyrique developed a serious and heroic plot, while the opéra-ballet consisted of independent sections of a light diverting nature. A mot-

ley of scenes could be hung upon such titles as Carnaval de Ventse, L’Europe Galante, or Les Festes Vénitiennes, one of Campra’s and Pécour’s greatest successes, first produced in 1710. In this work, from which not only the music but several dances

survive, there are Spanish entrées, dances for peasants, harlequins, and a ‘‘maitre.a danser”’ who had to sing as well as dance. Campra had a long and successful theatrical career, the majority of his later works being tragédies-lyriques and opéra-ballets. The last productions of new works by Campra took place a few years before his death in 1744,

32 Five Theatrical Personalities, 1632-1729

FOOTNOTES 1. For a discussion of Lully’s influence and the theatrical genres of the period see James R. Anthony, French Baroque Music (New York: W. W. Norton and Com-

pany Inc., 1974, rev. ed. 1977). .

2. Charles A. Sainte-Beuve, Portraits of the Seventeenth Century, trans. Katharine P. Wormsley, 2 vols. (New York: Frederick Ungar Publishing Co., 1964), II, p. 108. 3. Régine Kunzle, “The Dlustrious Unknown Choreographer,” Dance Scope (New York), vol. 8 no. 2, 1974, p. 32 and vol. 9 no. 1, 1974/75, p. 30. 4. Marie-Francoise Christout, Le Ballet de cour de Louis XIV, (Paris: Editions A. & J. Picard, 1967), p. 163. 5. Kunzle, “The Dlustrious Unknown Choreographer.” 6. Moliére, ‘‘Avertissement pour les Facheux,” Oeuvres Complétes, ed. Maurice Rat, 2 vols. (Paris: Bibliothé¢que de la Pléiade, 1956), I, p. 399.

7. Richard Oliver, ‘‘Moliere’s Contribution to the Lyric Stage,’ Musical Quarterly . (New York), vol. 33, July 1947, pp. 350-364. 8. See Anthony, French Baroque Music, for further information, and complete listings of: ballets de cour, tragédies-lyriques with music by Lully, and Moliére’s comédies-ballets.

9. Anthony, French Baroque Music, p. 99. 10. Marcelle Benoit, ed., Musiques de cour (Paris: Editions A. & J. Picard, 1971), p. 115. 11. Kunzle, “The Illustrious Unknown Choreographer.”’ Reproduced by kind permission of Dance Scope.

12. Pierre) Rameau, Le Maftre a danser (Paris: Chez Jean Villete, 1725), trans. John

Essex, The Dancing Master (London, 1728), Preface, p. xxii. The words of Rameau, unless otherwise stated, are all from Essex’s translation. 13. Essex, The Dancing Master, Preface, pp. xxiii, xxiv. 14, Benoit, Musiques de cour, see the year 1680.

Five Theatrical Personalities, 1632-1729 33

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- Dance ‘Types and Theatrical ‘Technique, 1650-1715 Dance types N o choreographies from original productions with music by , Lully are known to have survived, but many dances composed for revivals of his works exist in the early eighteenth-century

- publications. The dance types used by Lully and his successors

| are contrasted in quality and atmosphere. Further, within each

one there is variety. With these reservations in mind some general remarks may serve to introduce the most popular.

Theatrical , The most majestic of the dances is the entrée grave. The

noble | examples found in notation are technically complex dances for : style 7 men. The music, with its dotted rhythms, is strong and com- , manding, perhaps reminiscent of the slow opening of an overture | in the French style. Another dance which seems to have been | used primarily, although not exclusively, for the male technique

a ol

is the loure, or gigue lente. The other dance types were used

, equally for men and women, who, when dancing together, gen| erally performed the same steps. Duets for two women or two

GO

ee

men were common. | , Bo se oe ah ee lL

toe >) ee ee

l. “a See |

, | 35

and that he and Peécour excelled among the a). fF fy i oe

The two Lestang. dancers were also well writes versed inthat the |.L’Etang aS. FF -« ..Vie I Louis Rameau

in the residences of the greatest lords and | a

Nationale, Paris. Ce ae

Po

| ; Of the triple-time dances (those with three beats in a measure), the sarabandes are quite diverse in character. They are, on the whole, strong and calm with a sustained quality. The lengthy

| chaconnes and passacailles are largely represented by solos for — men and women. There are no choreographies for groups to

, serve as examples of the chaconnes that were used for large scale

, finales, the position of the chaconne in most of the tragédies, lyriques and opéra-ballets. The menuet is, by comparison, gentle

| but nevertheless builds excitement in the cross-rhythm between , steps and music. Its faster version, the passepied, is swift but still

oe | gracious. | . Of the lively duple-time dances (those with two beats in a , , , measure), the bourrée and rigaudon are virtually indistinguishable

oo. musically and choreographically. The gavotte is more spacious, | , with a slightly slower tempo. The liveliest of all dances are the - gigues and canaries, which contain the greatest proportion of

| springing steps. In close relation to the gigue is the forlane, , which has a slightly calmer, more beguiling quality.

_ §panish Spanish entrées were very popular and various dance types entrées were suitable for them, among which were loures, chaconnes, and sarabandes. Numerous portraits show dancers holding castanets (see pp.132,143), and their use in some of the entrées espagnoles

a is probably essential to authenticity.!

Character | . In addition to their use for purely noble choreographies— __ style _ dances employing only the orthodox steps and the regulated arm motions of the noble style* —some of the musical forms were also

| used for dances of a character nature. A good example of a

, OO dance for this type is the “Chacoon for a Harlequin.’’ In this dance, steps from the basic vocabulary are used, combined with

, | head and arm motions characteristic of Harlequin.

.m

a ¥, |

| (ftacoon Sor * SS un

, | Com “Y ik by M* Roufsau , , , , A figure from Chacoon for a Harlequin, — F. le Rousseau. The British Library, London.

36 | | Dance Types and Theatrical Technique, 1650-1715

The following is a guide to Lully’s use, over a thirty-year span,

of different dance types in the various genres. His successors used the same types, with the addition of the forlane.

Table of Dance Types?

| Between 1653 and 1663: The bourrée, gavotte, and sarabande ballet de cour predominate. Also found are the courante, gigue, gaillarde, and

chaconne.

Between 1664 and 1672: The menuet appears most _ freq-

| ballet de cour and quently; the bourrée, gavotte, and comédie-ballet sarabande remain as popular as be-

fore. Also found are the courante,

gigue, canarie, gaillarde, and chaconne.

Between 1673 and 1687: The menuet is now overwhelmingly

tragédie-lyrique and predominant, the number of gavottes

ballet de cour has doubled, the bourrée, sarabande, and canarie remain constant, the gigue

is more popular, and the number of chaconnes, which provided large scale

finales, has increased considerably. Also found are the loure, passepied,

| and passacaille. Lully wrote an occasional pavane and allemande. Any rigaudons in his scores are untitled.

Professional Pécour and Campra reaped the benefit of the inspired work of dancing at their predecessors at the Opéra: Lully, Beauchamp, and the other

the Opéra dancing masters who had worked there from its inception in 1672. These artists had established a renowned orchestra and a group of highly accomplished professional dancers, both male

and female. }

From the content of the notated dances it is evident that the

demands made upon professional male dancers who performed in the noble style were considerable. Through the embellishment of the basic steps of court dances a purely theatrical vocabulary had

been evolved. The elaborate dances for men were interspersed with cabrioles (springs in which the legs are beaten together while in the air) and successions of pirouettes (turns with the body sup-

ported on one foot) which had long been a part of the professional performer’s equipment. In dances in the noble style, however, such tours de force had to be performed with elegance and apparent ease. Choreographically, even the most virtuosic steps were not stressed, but merely slipped into the rhythmic flow of

Dance Types and Theatrical Technique, 1650-1715 37

the dance. The audience, most of whom danced themselves, would have been kinesthetically aware of the difficulties they were watching and able to appreciate apparent ease in a per-

former. ,

Such technical display was outside the range of female

dancers, perhaps because it would not have appeared seemly, or simply because the costumes hampered movement. After 1672, the intermingling of courtiers and professional dancers in per-

formances had declined. Thus for a number of years at the Opéra, female roles in the noble style were taken by boys en

travesti, but by the 1680s, professional female dancers were successfully introduced to the stage to take these roles. The most outstanding were Mlles. de la Fontaine and Subligny. A great advance in female virtuoso technique, especially in the incorpora-

tion of pirouettes, took place in the early eighteenth century. Pécour’s dances published in 1712 were far more complex than _ those published in 1704.

| =... «sf tC ON WS |

—— 02 eae | Ca Crt excoory A

. r 4 8Se bel eeee | . eesee Um,CUCt te a 1)... 2 ee *s i | ae a ae i ,,r,rr=—~—‘“‘—“ ‘—“‘“Ci‘= ee =eic=? ESIr—r—C—C—ir STEER IS ee a Se ire ee OR PES a

| eS SCR ee ee CO rr—“éi#RRRROC:C;C;stwtCwtwtsstsséséssS

Marie-Therese Perdou de Subligny, 1666-1736. Jean Balon (Ballon), 1676-1739. Bibliotheque

Bibliotheque Nationale, Paris. Nationale, Paris. | | |

| A strangely static quality often characterizes the portraiture of dancers of this period.

38 Dance Types and Theatrical Technique, 1650-1715

In his Preface, Rameau describes the attributes of stars of the Paris Opéra who danced for Louis Pécour. One of the greatest was Marcel, who rose to fame because he could sing well enough to take the role of the dancing master in Les Festes Vénitiennes:

The Rise of Marcel’s Reputation is an Epocha remarkable , enough in the Opera. Campra, who of all the Successors

of Lully in Composition of Musick, has obliged the Theatre with a Number of fine Performances brought on the Venetian Feasts. There was a very singular Scene in this Ballat, in which a Dancing-Master in a Song boasts of all the Advantages of his Art; and as at the same Time he

performed the different Characters of Dancing in the Ballets, and had a small Voice and a good Taste of Singing,

he undertook this Flight, and succeeded so well in it, that from that Time he engaged the Publick to observe with

| more Attention his Talent for Dancing, where he has constantly maintained what could be expected from him. I may say that the double Dance which he performed and does now every Day with Blondy, is like a Picture in which

the Likenesses are so just and the Colours so lively, that one cannot forbear admiring them.*

Blondy was Beauchamp’s nephew and pupil. The following ‘Entrée de deux homme” may be the “double Dance” referred to by Rameau. The first two figures of the dance are given on

Lule ‘ey

this one, rather crowded, page of notation.

_ ~~ Ws ote C faqs A ole Marcela fesle, veutienne ye

(e, —SX « ‘SS©») f NSY 2 SNS

c es eT ZB ATES : . { . 1 yo, He NID fT

T /-C

< “ 5" : “G “SEES SRent ce eet i ene Sieps of which the Munuet Dance wa Compo id.

av’

Solo”

_- = . c ~ ° \ 7 pS ee. Dy :k_

Table the s' Some Sys made ufe of in the Minutt by way of Grace.

|c

cr MY

KTomlan oe cual _ 3° +" 5 6: 7 aa RW Seale foul The NOBILITY and GENTRY, who are defirous their Children fhould learn the Characters of DANCING, of which

the Dancing above is only, a Specimen, andown willing to honour the or in an learning him, hhall payProportion, no more than ¥ ufual Prifes for vz at their Toutes one Guinea and baf/12 of Leflons: and in if they are pleafed to come to him’ for in his humble Opinion teaching to A/ay 4y Lar and to Dance without Book are equally wrong J

ought to be difcontinued. Young Dancing Maffers a\fo may be inftructed in the A7¥ of Danang & Writing by Characters.

From The Art of Dancing by Kellom Tomlinson

The Dancing Masters and Their Books, 1623-1725 Feuillet, Rameau, and Tomlinson.

Seventeenth- In the early seventeenth century, a change of fashion and taste

century manifested itself. The fashions in dress were more flowing than

documentation those admired previously and were reflected in a fluid, unostenta-

tious dance style. Francois de Lauze describes the new style in his book, Apologie de la danse, 1623, and he is the only master to do so.!_ From de Lauze’s descriptions, it is impossible to re-

construct the steps with confidence, but he indicates quite clearly that the foundations for the dance technique to be developed by Louis’s masters were already established.* The dance

Courante in the new style given by de Lauze is the courante, the dance Louis was to enjoy the most, for it would provide ample opportunity for the King to display the grandeur of his royal presence. The courante was to be the basis for lessons in the noble style for

a century or more—even after the dance had lost its place of favor to the menuet.?

Seventy-seven- The next publication on dance technique did not appear until

year gap 1700. Due to the lack of direct documentation during the _ geventy-seven-year interim, only certain facts and some flavor of seventeenth-century dance can be elicited: from music; costume and stage design; the cast listings given in livrets; and the writings which express the opinions of contemporary commentators. It is

possible, however, that a greater understanding of the early eighteenth-century manuals will shed some retrospective light on seventeenth-century developments.

Dance The masters of the Académie Royale de Danse had two major notation tasks: to improve the level of dancing, and to establish sound theoretical principles for the art. Whether their work as a body expanded or stultified dance is open to speculation because what they might have accomplished is unrecorded. In the late 1670s,

however, Louis entrusted Beauchamp, then director of the

Académie, with the invention of a notation for dance and it is possible that Beauchamp had to codify steps and movements before he could proceed with this work. To him are attributed the systematization of the five positions of the feet, and the reg-

ulation of the formal arm motions.4

Beauchamp A mystery surrounds Beauchamp’s notation because it was controversy: another master, Raoul Auger Feuillet, who, in 1700, actually Raoul Auger Feuillet published it in his book, Chorégraphie ou l’art de décrire la danse

par caractéres, figures, et signes démonstratifs. This notation is

the first known completed system to record dance steps and

45

movements with abstract symbols. In 1704, Beauchamp filed a

petition against Feuillet for infringement of his work. Beauchamp claimed that some thirty years earlier Louis had told him

to devise the notation, a task he completed within five years. Beauchamp lost his case and was advised to apply for letters of patent on his own behalf, but there is no record that he did so.® The question remains why he never promoted his own system. It is possible that it was not sufficiently finished, or perhaps he did not wish to undertake the enormous work involved in prepar-

ingit for publication. ,

oe DE DECRIRE | , PAR CARACTERES ET FIGURES ,

DEMONSTRATIES,

: | , "Avec lefquels on apprend facilement | de foy-méme routes .

BRS ruseexplication. Septum fey. .a Gmpie als mot Bont cre ia om Sone donne une

| The title page of the first edition of Feuillet’s | Choréographie, 1700. ,

Feuillet himself makes no reference to Beauchamp, but two masters who published their own books on the notation after Feuillet’s exclusive privilége expired in 1706 were eager to give Beauchamp full credit. John Weaver wrote in the Preface to his Orchesography, 1706 (a translation of Chorégraphie):

. .. to do Justice to Mons. Beauchamp, we must attribute | to him the Invention of this Art... But as no Art was ever invented and perfected at once, so it remain’d for Mons. Feuillet, to raise the compleat and finish’d Superstructure

on Mons. Beauchamp’s Foundation.® |

And P. Siris, in the Preface to The Art of Dancing (a paraphrase

of Chorégraphie), stated:

It is to this last Gentleman [Feuillet] that France is en- | debted for The Art of demonstrating Dancing by Char- | , acters and Figures, which he publish’d about six Years since; but “tis to Monsieur Beauchamp, nevertheless, that

the Invention of this Art is wholly owing. This I can assure you, on my Word, since he himself taught me the

46 | | , The Dancing Masters and Their Books, 1623-1725

Grounds of it above Eighteen Years ago, but tho’ through an unaccountable Negligence he delay’d the publishing of it from Time to Time, it must needs be no small concern to him to see that another has all the Honour and Advantage of what cost him so much Study and Labour.’

In 1712, another master, Monsieur Gaudrau, commented in the Preface to his new collection of dances by Pécour:

It is to Mr. Beauchamps, composer of ballets for the King and for the Royal Academy, that we are indebted for the invention of this new Art. And the late M. Feuillet profiting by his inspiration gave entirely his own publication to La chorégraphie.®

When Chorégraphie was published in 1700,9 Feuillet was about forty years old and, to judge from his subsequent publications,

Chorégraphie ;

spent much of his time notating until his death at the age of fifty.

grap Table des Pas de Bowree, ow Fleaurets

- . iy arrvere ;

VES. epee

v »\ Ceeaeoe

| ls mime _ Sep Kon

7aederruerc, le a derruer en ct avank

: hye \ a YY,

(+ % fed | en arriere, Is

A page from Feuillet’s Choregraphie.

Chorégraphie, a work of beautiful detail, includes a section of forty pages, each containing an average of twelve diagrams of steps. At first glance, it seems that the vocabulary of steps was enormous, but Feuillet is showing every possible variation of each step as well as the different ways of notating each variation.

Thus there are ninety-four examples of pas de bourrée, each drawn to account separately for execution with the left or the right foot. With the book are bound two collections of dances. The first of these comprises fifteen dances by Feuillet, devised to illustrate the use of the notation and provide examples for other masters. Feuillet’s compositions are theatrical solos and duets of increasing complexity, culminating in a “‘Balet de neuf danseurs,” a large portion of which is a beautiful study in double symmetry (see p. 96). The second collection contains nine ballroom dances by Louis Pécour.

The Dancing Masters and Their Books, 1623-1725 47

In the same year, Feuillet published separately two more ballroom dances by Pécour: La Pavane des saisons and Le Passepied nouveau, the latter notated at Pécour’s request. In this publication Feuillet promised a volume of theatrical dances by Pécour and also requested that: Dancing masters in the Provinces and foreign Courts who wish to have ballets and other dances set to an air should send me the music, and I will send them an appropriate composition.!°

In 1701, Pécour composed a loure, to music by Campra, called Aimable vainqueur, which Feuillet published. It became the most beloved of all the eighteenth-century danses a deux and

was reprinted many times. Rameau also included it in his Abbregé (to which Pécour contributed an approbation), but his and Feuillet’s versions differ in a few measures. The alterations may have been introduced and preferred by Pécour himself.

Recueils In 1702, Feuillet published the first of an annual collection of ballroom dances. Consisting of two, three, or four dances, each collection was scheduled to appear in November in readiness for the coming season. Thus the publication of 1702 contained new dances for the year 1703. Also in 1702, Feuillet was urged to publish another dance by Pécour, L’Allemande, which had been performed that year in the theater by Mlle. Subligny and M. Ballon in the ballet Fragments de M’ de Lully. This lively dance

joined A1mable vainqueur as a continuing ballroom favorite.

The output of a few dances in two years does not suggest enormous labor, but Feuillet was occupied in other ways, as he explained in the collection for the year 1704: It has been impossible up to now to publish the promised works of M. Pécour because in addition to my ordinary occupations I have been obliged to compose and write several ballets requested by foreign courts; however, as the works of M. Pécour are well under way I hope I shall not delay in satisfying the great number of people who have waited for them so long.!!

Feuillet was true to his word; the Recueil de dances de M’. Pécour appeared in 1704 and contained his last apology for the delay:

. .. people will stop blaming me if they consider that the greatest number of the dances it contains were danced at the Opéra at different times and by different people, and it

took an immense amount of work to put them into

notation. 4

This large collection consists of thirty-five dances and amounts to

two hundred and twenty-eight notated pages, preceded by a

48 The Dancing Masters and Their Books, 1623-1725

Traité de la cadance. This was the last sizeable book Feuillet was to publish apart from his Recuezl de contredanses in 1706. The annual collections of danses a deux, with an occasional

danse a quatre, continued regularly until the 7th, 8th, and 9th collections, all having the publication date 1709. These were intended for the years 1709, 1710, and 1711. While the first two could still be had “‘chez l’Auteur,” the last appeared “chez le S™ Dezais,’” to whom Feuillet bequeathed his works and privilége to publish. The volume states in the Preface:

M. Feuillet was born with a happy genius, of rare talents, and with marvelous aptitudes for his art, aided by various

| mathematical understandings. Upheld with a labor of twenty-nine years, he produced excellent pieces of cho-

régraphie with such success and an approval so general that

they have carried his reputation to the borders of foreign countries. After having reduced his understandings to cer-

, tain rules and having perfected that just described, he died, the 14th of June this year, being only fifty years old. 15

With a publication date of 1709 for the 1711 collection, Feuillet’s death would presumably have been June 14, 1709. Dezais perpetuated the annual collections until at least 1725. Compositions by Pécour continued to appear, but more often the dances are by Dezais himself and by Jean Ballon, the famous dancer of the Opéra.

P[ierre] It is thought that P. Rameau, as he designated himself, was Rameau Pierre Rameau, the son of a Parisian dancer, Georges Rameau. In

1705, Pierre Rameau was employed at the Opéra in Lyon where, on May 23, he married Elizabeth la Haye.!* On the title page of his first book, Le Maitre a danser (Paris, 1725), Rameau states that he was ‘‘Maftre a danser des Pages de Sa Majesté Catholique

Ia Reine d’Espagne”. Rameau’s second book, Abbregé de la nouvelle méthode, was also published in 1725, and here Rameau

describes himself as “Maitre a Danser Ordinaire de la Maison de Sa Majesté Catholique, la Reine seconde Douairriere d’Espagne”’.!5

Le Maitre Le Maitre a danser (translated in 1728 by one of England’s a danser foremost masters, John Essex)!® contains the clearest and most

detailed descriptions available of the structure and execution of the basic steps used in social and theatrical dance. These are preceded by instructions upon carriage, from which can be deduced the desired style of motion, bows and courtesies, and ballroom etiquette. Rameau leaves the important question of the relation-

A bbregé ship between steps and music for Abbregé de la nouvelle méthode, in which he deals primarily with the dance notation. The second part of this book is a collection of Pécour’s most popular and durable social dances.

Books Early in the eighteenth century, theoretical books on dance abroad began to be published in Germany: in Leipzig in 1705, 1.H.P. Maitre de Danse oder Tantz-Meister; in 1713, Samuel Behren’s

The Dancing Masters and Their Books, 1623-1725 49

L’Art de Bien danser oder: Die Kunst wohl zu Tanzen; and, in

, 1717, Gottfried Taubert’s monumental 1176-page Rechtschaf- , fener Tantzmeister. Although almost all the most fashionable European courts employed a French dancing master, it seems that only in England did the resident masters regularly publish

, , their own compositions. Elsewhere dances from France were usually copied, the established favorites appearing many times in

England.

books published in Germany, Italy, Spain, Russia, and also in

England The French dances became popular in England following the

restoration of Charles II in 1660. The English nobility and upper classes, unlike their French counterparts, were actively involved in the affairs of their country and did not find dance to be such an important pastime. However, dance instruction was accepted as one of the best methods to acquire the social graces necessary for a man of affairs. Every cultured Englishman was expected to _

: dance at least a minuet with a good grace and air, and to be well-

versed in the etiquette of polite society. Thus Lord Chesterfield _ wrote to his son, Philip Stanhope, who began dance tutelage at

! the age of thirteen:

, As you will be often under the necessity of dancing a , -minuet, I would have you dance it very well. Remember

a that the graceful motion of the arms, the giving your hand,

- and the putting on and pulling off your hat genteelly are the material parts of a gentleman’s dancing. But the great, , est advantage of dancing well is that it necessarily teaches you to present yourself, to sit, stand, and walk genteelly;

, | all of which are of real importance to a man of fashion.!7

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