Misteria Paschalia 2016



Europa Galante directed by Fabio Biondi in Oratorio di San'Antonio by  Michele Falco

24 marca 2016

Tekst w opracowaniu





















24th March 2016

The Philharmonic Hall, Zwierzyniecka 1

The direct reference to dance in the Falco's oratorio was spotted by Piotr Wilk, who in the festival programme (p.63) brings up this issue while  discussing Antonio's part in the end of the Part II. He calls it  ' a graceful aria Tutta gioia ti stringo nel seno, in which its  every single  part of four (nevertheless lacking da capo form) is put in the repeat sign.In addition the aria itself is a minuet'.
We recall now that  minuet  is a social dance of French origin for two people, usually in 3/4 time. The word was borrowed from Italian minuetto and French menuet, possibly from the French menu meaning 'slender' or  'small' and referring to the very small steps. Other sources indicate its derivation from the early 17th-century popular group dances called branle à mener or amener. Seemingly, the name may refer to the short steps,  pas menus,  taken in the dance, or else, as already noticed,  be derived from the branle à mener or amener , popular group dances in early 17th-century France.  The minuet was traditionally said to have descended from the bransle de Poitou, though there is no evidence making a clear connection between these two dances.

a figure of a minuet

The same Piotr Wilk examining  the musical texture of the Falco's oratory  reveals that ' Tercet Si triplicato nodo evincesa dancing gigue, which closes Part I, this time put in he Italian fashion  da capo.'

Now, the gigue  is a lively baroque dance originating from the British jig. It was imported into France in the mid-17th century and usually appears at the end of a suite. The gigue was probably never a court dance, but it was danced by nobility on social occasions. A gigue is usually in 3/8

or in one of its compound metre derivatives, such as 6/8, 6/4, 9/8 or 12/8. It often has a contrapuntal texture and  accents on the third beats in the bar, making the gigue a lively folk dance. In early French theatre, it was customary to end a play's performance with a gigue, complete with music and dancing. A gigue, like other Baroque dances, consists of two sections.
While the  British  Jig g s a form of lively folk dance in compound meter,

as well as the accompanying dance tune. It developed in 16th-century England, and was quickly adopted on the Continent where it eventually became the final movement of the mature Baroque dance suite. Jigs were originally in duple compound meter; 12/8 time but have been adapted to a variety of time signatures, by which they are often classified into groups, including light jigs, slip jigs, single jigs, double jigs, and treble jigs.
Coming to the Holy Thursday oratorio, performed on  the day when faithful Christians  commemorate  The Last Supper of their Jesus Christ with his Apostles and ensuing the Eucharist institution, we need to conclude by saying what is in the very matter the dance Falco's oratory suggests

a relief in the  Saint Kinga Chapel, Wieliczka Salt Min

Indubitably it is a kind of the sacred dance performed in simple time of  ascesis and penitence. This dance of Santo Antonio says much about the steps of human life which wants to follow  steadily  Jesus   Christ  example. Thus we might justly call it Imitatio Dei Dance  inancientChristianvein. However, since human nature  tends to alternate contrasted motifs, asceticism is balanced with joyously danced steps of minuet and gigue.

Wiesna Mond-Kozłowska