Luogo e data di registrazione		Kirche Neumünster, Zürich (Svizzera) - maggio 1973
	Registrazione: live / studio		studio
	Producer / Engineer		Gerd Berg / Johann-Nikolaus Matthes
	Prima Edizione LP		EMI Electrola "Reflexe" - 1C 063-30 117 - (1 lp) - durata 51' 10" - (p) 1973 - Analogico
	Prima Edizione CD		EMI "Classics" - CDM 7 63144 2 - (1 cd) - durata 51' 10" - (c) 1991 - ADD
	Edizione CD		EMI "Classics" - 8 26485 2 - (1 cd) - durata 51' 10" - (c) 2000 - ADD
	Note		-

Michael Praetorius - TERPSICHORE The writing and publication of the "Terpsichore" goes back to the "generous command" of Duke Friedrich Ulrich, to compose and set for four or five parts the “Diskant-Stimmen” (i.e. solo melodies) which his French dancing master Antoine Emeraud had brought back from France. Although Praetorius at first had his doubts about this, not wanting to make them common property, he eventually acceded to the Duke’s wishes. In all probability, he was afraid that his music would not then only be played at the tables of princes and at meetings of the nobility. The anthology- the greatest collection of dances of its time - is made up of some 312 numbers, of which many, however, are complete suites, so that if one were to count each dance seperately, the total would be something like 500. Alongside these French dances, he had planned a further collection of English and Italian dances, to be known as “Euterpe”; but Praetorius was unfortunately unable to realise this ambition, as well as many another. The completed works were forthe most part printed by Praetorius himself, and were not aimed at the consumer. This, among other things, could explain their quantity: for the expenses he incurred, as well as for “faithful services”, he repeatedly received donations from Duke Heinrich Julius, :ind from his son Friedrich Ulrich. He had been promised 250 Talers by way of compensation for printing-costs. Praetorius’ work on these dances, we would call today, “arrangement”. The “Diskant-Stimmen”, on the other hand, were composed - they came from the French dancing-masters, of whom there were about 300 in Paris at the time. The setting of melodies, however, which corresponds more or less to our “arrangement”, was considered as an original task in its own right, and no less worthy. As a helpmate, he had a certain Francisque Caroubel, who had come to Wolfenbüttel several years before for the purpose. The movements by Praetorius bear the initials M.P.C. (Creuzbergensis); those by Caroubel, F.C. While the latter wrote for five parts, Praetorius favoured four-part harmony. Possibly that was on account of the great ability of the court musicians of Henri IV: the famous ensemble consisted of 12 oboes and 24 “Violons du Roy". They favoured high keys with sharps; and Praetorius too believed that “when played on organs and other instruments”, they would sound “fresher and more gracious”; but he nevertheless wrote several pieces a tone or even a fifth lower, for those “who are untrained or unused to it”. Alongside M.P.C. and F.C. there is also to be found the legend, “Unknown”. In such cases, Praetorius had only filled in the inner parts. The originals were in all probability anonymous pieces for lute, mostly in two parts, having more only in certain places. Some of Besardus’ Balletti are note for note exactly the same as the outer parts in Praetorius’ pieces. This recording is meant to show a cross-section ofthe Collection, and also, by means of cross-reference, how French dance-music spread through other countries. Apart from one “Passameze pour les cornetz" (Cornetto), the instrumentation is not stipulated in any of the dances. We learn too, that the French dancing-masters instructed their best pupils not only in the art of dancing, but also to play the violin or the lute as they danced; and that Passameze were played on Crumhorns or other instruments: mention has already been made of the organ, as well. This seems to point to a practice of “ad-libbing”: the care however taken by Praetorius in Volumes I and II of his “Syntagma Musicum” over questions of instrumentation, obliges us to look again for “verlorengegangene Selbstverständlichkeiten” - attitudes which once were obvious, but have since been lost - in the realms of dance-music. Contemporary pictures have been a great help, as have the odd indications scattered in the above-mentioned work. The Pommern (Hautboy) Ensemble: Praetorius describes the sung Villanellas: “In France, the country dances, invented by the paesants themselves, are played on reed-horns and viols, often with two or three to each part, and are called ‘Villages’. The Branle de Villages is written for one person per part. While we have here adopted an “open-air” concept, we have striven to achieve a different, more modern tone in the “Ballet de Monsieur de Nemours”. Crumhorn Ensemble: Original dances for this instrument are rare (e.g. Schein`s Pavane) because the composer was too restricted by the instrument’s narrow range (a ninth). But by use of transposition, Praetorius has included a whole series of suitable dances in the “Terpsichore”, most of them in F major. Mixed Ensemble: Combining several groups of musical instruments in a dance was not contrary to musical practice, but was reserved for special occasions. Our setting is based on Praetorius’ affirmation that he once wrote a seven-part motet for “2 Theorbas, 3 Lutes/2 Zithers, 4 Clavircymbels and Spinets/7 Viola da Gamba, 2 “german” (transverse) flutes, 2 boys/1 Altista and a big viol (double bass) without organ or Regal, “which” resounded so marvellously, so excellently and so splendidly that everything in the churches shook before the sound of so many strings.” In the place of the german flutes and the singers, we have used Blockflöten (recorders); in addition, a Rackett - as recommended by Praetorius - provides a bass for the violins. As our example for the flourishes in the Galliard, we have taken the quotation: “vier Reprinse... wie dieselbe von den Frantzösischen Dantzmeistern diminuiret und coloriret werden.“ (4 Reprises, diminished and shaded as by the French dancing-Masters.) Recorder Ensemble: Although Praetorius saw the function of a recorder-ensemble as principally a religious one, the love of recorder-groups in England was also carried over into the dance. In Volume 3 of his “Harmonie Universelle”, Mersenne reproduces a Gavotte or 4 recorders. Viola da Gamba Ensemble: In many German dances, the Gamba is assigned pride of position. Lute Ensemble: In order better to appreciate the “false notes”, one should first try to hear each of the two lutes separately: “Each lute on its own is in the right; together they are wrong.” (T. Bailes.) Recorders and Lutes: Both variations were written for solo recorder, but for technical reasons, were recorded with a lute continuo. Percussion: The instruments prescribed by Praetorius - “little kettle-drum, triangle and tom-tom" e are used here. Richard Erig (Translation by Martin Homer) NOTES ON THE DANCES The dances in M. Praetorius' Terpsichore show a close, deliberate relationship to lolkloro. Interrelation of dances of the court and those of the paesantry provides a liveliness and freshness which is missing from the later Baroque period. The commoners’ leaps and bounds were taken over by the court, stylised, and endowed with the courtly code and apparel. Thus the simple walk becomes a wavy step: the best example is the Pavane, with its strutting peacock step. The symmetry, complicated combinations of steps and use of the floor which characterise the Baroque dance are to a great extent in accordance with this. The majority of the dances were real society dances, performed by many couples simply for their own pleasure. Only the Balletti, formerly of Italian origin, were looked upon as impromptus for spectators. Balletti were performed in three stages: first came the presentation of the cast, usually done in elaborate fancy-dress; second, the dance-sequence would be developed, and the last part was saved for an inspired and inspiring exit. The steps of these dances have not been handed down; the performers were guests at the ball. As a rule, balls lasted for eight hours or more. The beginning followed a set ceremonial pattern: the senior person present opened the ball with his partner, and the next in line gradually joined in the dance. To start with, they would dance a Branle-suite. Bransles, or Branles are round dances from various parts of France. The pairs danced in rows or in a circle with a basically sideways movement through the ballroom. Praetorius describes the motion as: “not as brutal as the Galliard or the Courrante, but very gentle, with but a slight movement of the knees.” The Branles doubles and the Branles simples, so called because of their double-pace to the left followed by a double or a single pace respectively to the right, were just the thing for the veterans in the ballroom. They were absolved from the more lively “Branles gay”, such as the running and jumping peasant dances, the Branle de Bourgogne, de Village, de Poictou and de Montirande, in which the younger generation indulged. There were lots of Branle-dances, varying from region to region. Of the Branle de Montirande or du Haut Barrois, Arbeau says, “It is danced by young ladies and gentlemen of noble descent, who dress up as sheep and farmers for masques to amuse themselves with their peers.” When they danced a Bourrée, which Praetorius liked for its rural freshness, the couples would glide across the room with flowing nimble steps. The zapateado-like tapping of toes and heels of the Canarie dancers, dressed in their colourful plumes, clattered livelily and at times pretty loudly. It was originally danced at masque-ballets by the king and queen of Mauritania. The great dance, though nearing the end of its popularity, was still the Pavane. “It cometh from Spain, and is a passing grave proud and stately dance.” “The Pavane is easy to dance, for it consisteth merely of two single paces and a double pace forwards, followed by the same again backwards." So says Arbeau. The main thing about the Pavane was to see and be seen. “A nobleman can dance the Pavane with sword and beret... the ladies with lowered eyes filled with virgin modesty... " That this modesty was one of the foremost principles of good behaviour for those born into Society can be gathered from the following description of the dress: “Kings and princes dance the Pavane on festive occasions to show themselves off to one another in their ostentatious cloaks and robes of state. They are accompanied by queens, princesses and Ladies of the Bedchamber. They drag the flowing trains of their garments up to five yards behind them, or else let them be carried by their ladies-in-waiting. Thus they make their way two or three times round the hall, or dance perhaps up and down the middle of the room, turning about when they reach the end.” Regretfully, Arbeau realised twenty years before the “Terpsichore” that the great dance must eventually be superceded by other newer ones. Praetorius supplied 3 Passamezzi, and only l Pavane. These are adapted italianate variations of the Pavane, faster, and with tasteful elaboration of the steps. The Pavane’s greatest contemporary rival was the Galliard, with its mighty springs. In France, the da nce was also aptly called the “Five-step”: four “sauts mineurs” (little hops) building up to a final “saut majeur” (high leap) which fitted the end of the sequence to the cadence in the music. This fundamental step lasted for two bars. The fairly fast hops of the early Galliard developed into even quicker running jumps. Interesting variations of rhythm in Praetorius’ music make it seem possible that hops and jumps were themselves freely interchanged. To judge by the almost incomprehensible richness of former step-variations, there seem to have been no limits to the realms of movement employed, so that the Galliard became from what was once just a sprightly pairs-dance, a shows-off piece for each and every good dancer. To the oberserver, it was a ceaseless approach and retreat by both partners. When the man danced alone, he had the chance to demonstrate his ability in leaping, turning and making artistic passes. The lady didn’t jump as high, but she too could show her dexterity and nimbleness in turning. Hardly any dance has given rise to so much discussion, prohibition and sensation as the Volta, a turning offshoot of the Galliard. The man had to throw his partner as high as possible into the air. It was unavoidable that in doing so, he should grab her in most unseemly places, and also, from time to time, help her on her way with a deft application of the knee. Murder, miscarriages, the breaking of necks and legs and all sorts of other evils were laid at the Volta’s door, until not only the dance itself, but the very act of turning in dancing was prohibited on pain of punishment, but with little success. To complete the catalogue, the Courante was already in Praetorius’ time the most popular dance at the court. In this lively run-and-hop-dance, of the 16th century, the partners held hands, and swept in little zig-zags across the room. By the end of the 17th century, the Courante had developed into the gentle, measured art of the “Doktor-Tanz", which because of the difficulties of performance, was still taught by dancing instructors, but no longer used in Society. Erika Schneiter (Translation by Martin Homer)
EMI Electrola "Reflexe"