Historical Dance Classes

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Historical Dance Classes at the Amherst Early Music Winter Weekend Workshop In historic Philadelphia January 12 - 15, 2018 Taught by Dorothy Olsson (New York Historical Dance Company) and Kaspar D. Mainz (Leipzig University, Germany) ! Baroque Dance Technique. 9:00-10:30 (Sat., Sun., Mon.) A gentle warm-up followed by a focus on step combinations from the passacaille, menuet, rigaudon, sarabande, bourée and other dance types. La bourëe de Mlle. Charollois. 11:00-12:30 (Sat., Sun., Mon.) Pécour’s charming duet, with music from Lully’s Isis (1677), will be taught from notation; this dance will be performed with live music on Monday, Jan. 15. La Menuet et La Contredance. 1:45-3:15 (Sat., Sun.) A menuet for two from a French source, and a contredanse from the Feuillet’s Recueil de Contredances (Paris 1706), to be performed with live music on Monday, Jan. 15. Beginning Baroque Dance. 3:30-4:30 (Sat., Sun.)(Olsson) An introduction to 18th-century dance forms—bourée, courante, sarabande, menuet, and others—with reference to musical characteristics. Open to all. Baroque Dance Topics. 3:30-4:30 (Sat., Sun.)(Mainz) A look at phrases of several dances from French sources, and a review of speciﬁc steps for timing and execution issues. No prior experience is necessary for these dance classes; bring comfortable shoes. Classes will be held in the Fine Arts Building on the Rutgers University campus in Camden NJ. Other events at the workshop include a Faculty Concert, instrumental and vocal ensemble classes, notation and more! ! Tuition: $275 for all 10 dance classes (incl. ! lunch), or $30 per individual class. For registration, directions and more information: www.amherstearlymusic.org, or email us at: [email protected]; Phone: (781) 488-3337 Amherst Early Music, 35 Webster St.

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Book Reviews Ian Payne, The Almain in Britain, c.1549– c.1675: a dance manual from manuscript sources. Ashgate, Aldershot, 2003. ISBN 0-85967-965-9. xxi+268 pp, £42.50. This book is in essence an extended study of the ‘Old Measures in particular (1993) and he is prepared to accept Measures’ and of the seven manuscript sources in which they Ward’s conjecture that the Old Measures constituted a stand- are described. Payne focuses especially on the English Almain, ard beginners’ course in the dancing schools. From this it for which these manuscripts afford the only information, but seems to follow that, as far as Payne is concerned, no one went neglects none of the associated dances, whether they are to a dancing school and made notes of what he was taught formally part of the Old Measures or not. He provides unless he was already at the Inns of Court or was a child with reconstructions of most of the dances described, using a aspirations to do so. In truth, as Ward has cogently argued, for deliberately plain style, and makes informed comments about most of the manuscripts in which the Old Measures are the available music. The whole corpus is presented in the recorded, any connection with the Inns of Court is either context of his personal view of the development of social tenuous or non-existent. dance in Britain in the sixteenth and seventeenth centuries. Unfortunately, the author is not equally well equipped for Dating of the manuscripts every part of his task, with the result that the book inevitably When the contents of a commonplace book do not form a invites comparison with the Curate’s Egg.
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