The history of the origin of the allemanda is quite interesting in nature. During the periods of development of musical art over three centuries, it was modified, therefore it is rather difficult to find one general definition, but it is still possible: the Alemanda is an old German dance of a bipartite size.
The earliest sample dates back to 1530.
Origin and terminology
Initially, the allemanda was published in the 16th century in the form of a dicotyledonous and medium tempo dance. He was performed by a couple whose movements were smooth and measured. In England, the Netherlands and France, it became popular during the Baroque period.
- The dance consisted of two parts with rare exceptions, sometimes in 3 or 4 parts in total.
- The size of the first episode was 4/4 (four quarters) at a moderate pace.
- The size of the second episode was diluted with two lobes (2/4) or three (3/4), so the dance became livelier.
In the 17th century, dance acquired the status of a "courtier". Time gives it an easy step and a touch of sophistication. The source was the allemand from France on a folk basis. The dance was performed without jumping (bass dance).
- Divided into 2 fragments.
- Part I - Fortan. It was performed at the pace of the andante (moderately), the size was 2/4 or 4/4.
- Part II - Nakhtanz. Temp - allegretto (briskly) in a three-part size.
In the second half of the 18th century, the Alemanda is a European dance with a lively and cheerful character. Grew from the foundations of Nakhtan and German folk dance. A feature of this type is graceful, with a touch of elegance in the movement of the hands. The name also has a synonym - Deutsche.
- The size was 3/4, thereby predicting the appearance of a waltz.
- Temp - andante (moderate).
With the advent of the suite, the dance of Alemanda becomes its obligatory part; according to the classics of the genre, it goes under the first number in the general sequence (XVII century, Germany). It was the main episode of this composition until the very end of the 18th century.
Characteristic
The following features are characteristic of the dance of Alemanda:
- complete absence of syncopation (transfer of stress from a strong to a weak beat);
- contrast in terms of harmony and tonality.
The merit of composers in France lies in the fact that the dance was able to acquire a four-part size and free rhythm.
German figures Froberger and the famous Bach allowed to handle the form of the Alemande in a free style.
English and Italian figures used the counterpoint technique (the interweaving of two or more separate voices). In addition, they experimented with a fairly wide tempo range. Arcangelo Corelli has examples where the tempo from the Largo (very slowly) reached the presto (very fast).
Application
Suites by Johann Sebastian Bach - this is what the composer worked on for almost the entire creative path. He perfected the form and deepened its content. Suites were written both for solo performance (harpsichord, violin), and for instrumental ensembles.
Bach wrote 3 collections of clavier suites:
- six English;
- six french;
- six score.
In French suites there was a strict system of order: they began with an allemand. Further, while still adhering to traditions, the composer brings the dance closer in character and presentation to the prelude genre. Allemanda is enriched by melodic horizontals.
The Bach Allemanda is no longer the original form of ancient dance. From the original source there are only characteristic movements and some metro-rhythmic nuances.
In English suites, the composer tries to enlarge the scale of the work, which ultimately entails the transition of style with presentation techniques to the concert level. A huge majestic play climbs in place of the allemanda - a prelude.
In total, Bach wrote 23 clavier suites.
Total
Allemanda is the next achievement of mankind in creative activity, which entailed a number of brilliant compositions that are still being performed.