Mark Phelan, Detroit Free Press, 7 Apr. Richard Lederer, San Diego Union-Tribune, 11 June 2022 Choreographing their minuet was one of engineers’ biggest challenges. 2022 Every minute the number of people who dance the minuet grows more minute. Dallas News, 13 June 2022 Here, the Maine landscape is gorgeously rendered in its COVID hush, and Strout balances the tension of viral spread with the complex minuet of Lucy and William coming to terms with their resentments and enduring love. 271) is an odd duck, with a brisk finale interrupted by a slow minuet. Hannah Edgar, Chicago Tribune, 3 June 2022 Mozart’s Concerto No. 2022 Inspired by a minuet and trio from Haydn’s Op. Life is better with great music in it.Recent Examples on the Web Israel has long mastered this complicated role-playing, and Taiwan and its Indo-Pacific neighbors have quietly engaged in the minuet for years. After World War One, in a spirit of ironic reminiscence the arch‑serialist Schoenberg used minuets in his Op 24 Serenade and Op 25 Suite. A nostalgia for the French ‘golden age’ of Couperin and Rameau underpinned the minuet’s revival by Fauré, Debussy and Ravel. Ditto Brahms in his A minor String Quartet. When Beethoven (in his Eighth Symphony and Third Razumovsky Quartet) or Schubert (in his Octet and Rosamunde Quartet) wrote a true minuet, the effect is nostalgic or gently ironic. It’s an unbridled scherzo, setting the blueprint for the 19th century. The minuet in the 19th centuryīeethoven’s menuetto marking in his First Symphony fools no one. Elsewhere in late Haydn, minuets become bucolic scherzos that leave their courtly French model gasping. Canonic writing was a particular feature of minor-keyed minuets, as in Mozart’s Symphony No 40 or the abrasive ‘witches’ minuet’ of Haydn’s Quartet Op 76 No 2. Anyone trying to dance the metrically skewed minuets in Haydn’s Quartet Op 20 No 4, or Mozart’s K387, would risk ending up in A&E. In Haydn’s C sharp minor Sonata, No 36, and Mozart’s Violin Sonata K304 the melancholy minuet finales double as surrogate slow movements.įrom the 1770s most composers favoured the faster Italian form of the dance, often roughing it up in the process. Many JC Bach symphonies and several early Mozart concertos end with a gracious minuet. The Lutheran cantor is at his most decorously Gallic in the menuets of the First Brandenburg Concerto and the B minor Flute Suite.Īlone among Baroque dances, the minuet survived into the age of Haydn and Mozart. Bach, who could rarely resist contrapuntal elaboration in his minuets, used both types. Handel adopted the faster, Italian-type minuet in his G major harpsichord suite. Meanwhile it had become an optional ingredient in French and German keyboard suites. South of the Alps, in the hands of Corelli and Alessandro Scarlatti, the minuet tended to be faster and lustier. In the next century, one or more minuets, often of a wistful cast, were de rigueur in the operas of Rameau. Its graceful rhythms and symmetrical phrases underlie some of Purcell’s most haunting songs, as in ‘Fairest Isle’ from King Arthur. Like all things French, the minuet soon crossed boundaries. Lully further popularised the minuet in his ballets and operas. At balls couples were assessed by the assembled company as they moved through a series of choreographed steps. Its name may derive from the French ‘menu’ (‘slender’), denoting the small, neat steps of the dance.īy the 1660s the minuet was a must-have social skill at the court of Louis XIV. The origins of the minuet – a stately dance in triple time – are blurred.
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