Hello Thomas: A good modernish source of information can be found in D. J. Buch, "The Influence of the Ballet de cour in the Genesis of the French Baroque Suite," Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun., 1985), pp. 94-109. The saraband is discussed on page 102. Since so much 17th-century lute music consisted of boiled-down versions of popular dance tunes, it important to know how a particular dance worked in it's original context. Then one has to realize that, since lutes are and were inaudible when dancer's feet scrape the floor, the music is adapted and performed in whatever manner the player wishes. RA > Date: Mon, 15 Dec 2014 14:03:13 -0600 > To: lute@cs.dartmouth.edu > From: twlute...@hotmail.com > Subject: [LUTE] those sarabands > > Greetings all-- > I know the sarabande was originally a lively ditty which morphed pretty > thoroughly by the late 17th century. I have a question about the > middle ground, in particular the sarabandes found in Ballard's prints > from the 1630s, though. Many seem to "work" whether played lively or > stately, and I know of an old Bailes recording where he positively > burns through a sarabande by Mesangeau. I also have played sarabands > in ensemble works by Jenkins et al that demanded a lively reading. > The question is, what textual evidence do we have for expected tempi of > sarabandes of the French school 1610-1640? > Thank you kindly, > Thomas Walker, Jr. > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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