Mariage (Harlequin Edition Spéciale) (French Edition)

Journal of Seventeenth-Century Music

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There is no evidence that Lully would have wanted dance during vocal solos or duets.

Mariage Arrange (Harlequin Edition Speciale) (French, Electronic book text)

On the other hand, there is evidence to suggest that dance during choruses would sometimes have been called for. In certain instances, notably in a chorus at the very end of a divertissement , it may even have been appropriate for dance and song to happen simultaneously. In cases where the characters dance for reasons related to the story, as in the divertissement of Act IV no.

The score shows a dance, a passepied, alternating with the two stanzas of a vocal setting of the same music. In any case, each instrumental segment would probably have merited a different choreography. Moreover, there is evidence for two different choreographies to the same piece of music used in the same production. Fortune approaches, Abundance and Magnificence accompany her, with richly adorned followers. The music is a binary-form march for the Followers of Fortune. It could perhaps have been used solely as entrance music; more likely, it would have provided the dancers the opportunity to show off a contrasting style of movement to that of the previous dances.

It may have been in a more masculine style—that is, involving relatively more jumps, turns, and ornamental beats—than the passepieds: The libretto additionally indicates that a group dance takes place at this point: The libretto, however, lists seven names, setting Blondy apart as a soloist, and this raises the question of when Blondy danced in that scene. Was the March performed in as an entrance dance for a group, and then repeated as a solo dance for him, 24 or did the March include passages for both soloist and group, or did no solo dancing occur until the divertissement that ends the Prologue?

We cannot tell from the sparse evidence of the score and libretto. Framing the divertissement , but standing outside the palindrome, is a pair of large-scale choruses that may have involved some dancing. The first concludes the preceding conversation; the second belongs to this divertissement.

Their purpose is straightforward: According to Bonnet, there may have been historical precedent for dance competitions:.

Dance was so esteemed in the early days, that Lucien says that it was not admitted in the Olympic games because the Greeks did not feel they had prizes worthy of it; but in later times the inhabitants of Colchis added it to their public games: Scene 5 opens in a different key that remains throughout the sequence of the ritournelle , the solo invocation for Cassiope, and a palindromic sequence of dance and song: The competitors are small groups of young men and women.

In each case, the musical structure is the same: The actual bestowal of each gift can be dispensed with quickly, presumably as the solo singer describes the gift and its purpose. So the dances did not necessarily have a strong imitative gift-giving component. Moreover, the presence of a chorus at the end of scene 10 makes it clear that each entrance of gift-givers includes a group of singers as well as dancers. The numbers and genders are the same in , except that the Gods of the Underworld also include a male soloist, Monsieur Balon.

Nothing is known of who, or how many, danced in Bonnet suggests the character of dance for blacksmiths:. The more natural the types of movement, the more agreeable they are. The dance of the Winds should be light and quick; that of the Blacksmiths should have a beat, and intervals for striking the anvil.

Act I represented at first the grotto of Vulcan, from which emerged eight Cupids so well disguised as Blacksmiths, that one could recognize them only by their application in making darts and arrows rather than other weapons.

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No element of mime is implied, for according to the libretto, the singing Amazon does the gift-giving: Presumably this was intended to be a show-stopper. Male and female sailors mingle in the public celebration. One of the Ethiopians sings in the midst of the sailors who dance. For Act IV in the production, Parfaict names only one dancer who thus presumably danced a solo at some point: The libretto makes no clear or implied reference to a soloist, but simply notes the dancers in Act IV as four male Ethiopians, four male and four female sailors led by Mademoiselle Subligny, who is a plausible candidate for solo as well as group dances.

The libretto names Mademoiselle Guyot as a female sailor, along with four male and four female sailors, which strongly suggests that she danced solo at some point in that scene. The and librettos each list four male dancers as Sacrificers, so it seems that dance of some sort took place. It is tempting to imagine that choreographed pursuit and combat occurred during these instrumental interludes, and perhaps throughout the entire scene, but the scores give no instructions.

They continue in this way through another four poses, at which point the dance ends. There were certainly plenty of people on stage at the time: The dance has the dotted rhythms and other musical characteristics of the first section of a French overture. Or perhaps the men danced the Air and the women joined in the dancing during the final choral reprise, bringing the opera to a close with both dance and song contributing to the general celebration.

Rebecca Harris-Warrick has noted that while in each case the notation indicates that duos were danced, the scores and librettos indicate the presence on stage of a group of dancers. So how might each notated duo have related to the larger group of dancers? Yet another possibility is that the group danced at the same time as the duo, but behind them or in a semi-circular or square formation around them, sometimes static, sometimes dancing simpler steps or different patterns.

Both are notated as solos and both, as it happens, represent dances performed by Mademoiselle Subligny. There is nothing in the notation to suggest that these dances were for larger numbers of dancers—no evidence of abridgement or rearrangement, no obvious spatial impossibilities.

But we must allow the possibility that these dances, as well as other notated theatrical dances, represent group dances that were reduced to solos or duos, whether for legibility or for enhanced marketability. Perhaps their star status helped sell notations.

The Passacaille Video 2 undoubtedly functions choreographically as a duet, and gives every appearance of having been built that way; for example, the dancers move in axial symmetry—that is, around one another—for roughly half the dance, and only occasionally do they direct their attention toward the public.

Would this sense of privacy in the Passacaille, this lack of focus toward the public, work as well in a group dance? What about the evidence, suggested by the librettos of other works, that passacailles were usually performed by groups of dancers? Perhaps Balon and Subligny did dance the Passacaille as notated, but with others on stage also dancing during parts of it. The other dancers might have performed the same steps at the same time as the leading couple, or they might have joined in with similar or simpler steps at appropriate moments in the music, or at moments in the choreography in which the duo opens its focus toward the public, facing forward and moving in mirror symmetry.

Table 2 shows a hypothetical distribution between duo and group dance in the Passacaille, with group dancers moving mainly during tutti sections in the music, during which mirror-symmetrical sections of the choreography always occur.

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For the various productions from onwards, the librettos and the later record published by Parfaict identify some of the dancers concerned, but not consistently. The score indicates meter and musical form of dances, but gives no information about the number or arrangement of dancers; and the later scores give little if any new information about the later productions.

Many of his choreographies, whether for ballroom or for theater, were set to music by Lully. He has taught early dance at workshops in Europe, Canada, and the United States, and his choreographies and dance reconstructions have been shown at festivals from Copenhagen to Vancouver.

Her research interests include the work of French and English dancers for the London stage, and she is currently preparing an edition of dances and dance notations made during the s by F. Librairie des Bibliophiles, ; reprint, Hildesheim: Olms, , 1: Ballard, ; reprint, Broude International Editions, Ballard, , is described in Carl B. A critical edition has been based on LLC Lambert, ; reprint of ed. Slatkine, , 4: Ballard ; reprint, Geneva: Aussi est-elle particulierement surprise lorsque celui-ci lui propose de devenir sa femme.

Une surprise d'autant plus grande que cette etrange demande en mariage, qui n'est bien sur qu'un arrangement, elle a soudain tres envie de l'accepter Fiancailles d'un soir, Barbara McMahon En proposant a Nick Bailey de se faire passer pour son fiance le temps d'une soiree, Molly a seulement l'intention de faire taire de deplaisantes rumeurs qui circulent a son sujet.

Elle est loin d'imaginer que ces fiancailles d'un soir vont prendre une toute autre tournure et qu'elle va se retrouver irremediablement liee a l'arrogant homme d'affaires. Published February 15th by Harlequin first published January 1st To see what your friends thought of this book, please sign up. Lists with This Book. This book is not yet featured on Listopia. Errol marked it as to-read Feb 04, Namnosha marked it as to-read Aug 22, Mitza added it Oct 25, Sascha marked it as to-read Dec 17, Hena71 marked it as to-read Apr 22, Kellie Demarsh marked it as to-read Aug 11, Debbie marked it as to-read Feb 22, There are no discussion topics on this book yet.

She was born and brought up in North Wales. She returned there when she married, and her sons were both born on Anglesey, an island off the coast. Though not isolated, Anglesey is a little off the beaten track, but lively Dublin, which Kim loves, is only a short ferry ride away.

Today they live on the farm her Though lacking much authentic Welsh blood, Kim Lawrence comes from English-Irish stock. Today they live on the farm her husband was brought up on.

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