Misteria Paschalia 2016
Europa Galante directed by Fabio Biondi in Oratorio di San'Antonio by Michele Falco
PL / DZIEN CZWARTY
24 marca 2016
Tekst w opracowaniu
EN / THE FOURTH DAY: THURSDAY OF MYSTERIES, 20:00,
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.