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WIKIMAG n. 11 - Ottobre 2013
Tarantella
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Traduzione
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- Togli il segno di spunta per disattivarla
The term tarantella groups together a number of
different
folk dances characterized by a fast upbeat tempo, usually in
6/8 time (sometimes 18/8 or 4/4), accompanied by
tambourines.[2]
It is among the most recognized forms of traditional southern
Italian music. The specific dance-name varies with every region, for
instance
tammuriata in
Campania,
pizzica in the
Salento region, Sonu a ballu in Calabria. Tarantella is
popular in
Southern Italy.
History, past and today
Italian women dance the tarantella, 1846
In the
Italian
Taranto,
Apulia,
the bite of a locally common type of
wolf spider, named "tarantula" after the region,[3]
was popularly believed to be highly poisonous and to lead to a
hysterical condition known as
tarantism.
[4]
This became known as the Tarantella. The oldest documents mentioning
the relationship between musical exorcism and the tarantula are
dated around 1100 BC[citation
needed]. R.Lowe Thompson proposed that the
dance is a survival from a "Dianic or Dionysiac cult", driven
underground.[5]
John Compton later proposed that these ancient
Bacchanalian
rites
had been suppressed by the
Roman Senate. In 186 BC the tarantula went underground,
reappearing under the guise of emergency therapy for bite victims.[6]
The tradition persists in the area, and is known as "Neo-Tarantism."
Many young artists, groups and famous musicians are continuing to
keep the tradition alive. The music is very different—its tempo is
faster, for one thing—but it has similar hypnotic effects,
especially when people are exposed to the rhythm for a long period
of time. The music is used in the therapy of patients with certain
forms of depression and hysteria, and its effects on the
endocrine system recently became an object of research[citation
needed].
Courtship vs tarantism dances
The stately courtship tarantella danced by a couple or couples,
short in duration, is graceful and elegant and features
characteristic music. On the other hand, the supposedly curative or
symptomatic tarantella was danced solo by a supposed victim of a
"tarantula" bite; it was agitated in character, lasted for hours or
even up to days, and featured characteristic music. However, other
forms of the dance were and still are couple dances (not necessarily
a couple of different sexes) usually either mimicking courtship or a
sword fight. The confusion appears to arrive from the fact that the
spiders, the condition, its sufferers ("tarantolati"), and the
dances all have similar names to the city of
Taranto.[7]
The first dance originated in the
Apulia
region and spread next to all part of the
Kingdom of the Two Sicilies. The Neapolitan tarantella is a
courtship dance performed by couples whose "rhythms, melodies,
gestures, and accompanying songs are quite distinct" featuring
faster more cheerful music. Its origins may further lie in "a
fifteenth-century fusion between the Spanish
Fandango and the
Moresque 'ballo di sfessartia'." The "magico-religious"
tarantella is a solo dance performed supposedly to cure through
perspiration the delirium and contortions attributed to the bite of
a spider at harvest (summer) time. The dance was later applied as a
supposed cure for the behavior of neurotic women (" 'Carnevaletto
delle donne' ").[8]
The original legend tells that someone who had supposedly been
bitten by the
tarantula (or the
Mediterranean black widow) spider had to dance to an upbeat
tempo to sweat the poison out.
There are several traditional tarantella groups: "Cantori
di Carpino", "Officina
Zoé", "Uccio Aloisi gruppu", "Canzoniere Grecanico Salentino",
"Selva Cupina", "I Tamburellisti di Torrepaduli".
The tarantella is most commonly played with a
mandolin, a guitar, an
accordion and
tambourines.
Flute,
fiddle,
trumpet and
clarinet are also used.
Tarantism
Tarantism, as a ritual, has roots in the ancient Greek myths.
Reportedly, victims who had collapsed or were convulsing would begin
to dance with appropriate music and be revived as if a tarantula had
bitten them. The music used to treat
dancing mania appears to be similar to that used in the case of
tarantism though little is known about either.
Justus Hecker (1795–1850), describes in his work Epidemics of
the Middle Ages:
A convulsion infuriated the human frame [...]. Entire
communities of people would join hands, dance, leap, scream, and
shake for hours [...]. Music appeared to be the only means of
combating the strange epidemic [...] lively, shrill tunes,
played on trumpets and fifes, excited the dancers; soft, calm
harmonies, graduated from fast to slow, high to low, prove
efficacious for the cure.[9]
The music used against spider bites featured drums and clarinets,
was matched to the pace of the victim, and is only weakly connected
to its later depiction in the tarantellas of
Chopin,
Liszt,
Rossini, and Heller.[10]
While most serious proponents speculated as to the direct
physical benefits of the dancing rather than the power of the music
a mid-18th century medical textbook gets the prevailing story
backwards describing that tarantulas will be compelled to dance by
violin music.[11]
It was thought that the
Lycosa tarantula
wolf spider had lent the name "tarantula"
to an unrelated family of spiders having been the species associated
with Taranto, but since the lycosa tarantula is not inherently
deadly in summer or in winter,[11]
the highly poisonous Mediterranean black widow (Latrodectus
tredecimguttatus) may have been the species originally
associated with Taranto's manual grain harvest.
The Tarantella is a dance in which the dancer and the drum player
constantly try to upstage each other by dancing longer or playing
faster than the other, subsequently tiring one person out first.
Grand
Tarantelle ballet
The Balanchine ballet
Tarantella is set tothe
Grande Tarantelle for Piano and Orchestra, Op. 67 (ca. 1866)
by
Louis Moreau Gottschalk, reconstructed and orchestrated by
Hershy Kay. The profusion of steps and the quick changes of
direction this brief but explosive pas de deux requires typify the
ways in which Balanchine expanded the traditional vocabulary of
classical dance.
Notable
tarantellas
Classical music
-
Benjamin Britten wrote a tarantella as the third movement of
his Sinfonietta for Chamber Orchestra, Op. 1.
-
Mario Castelnuovo-Tedesco wrote a Tarantella for solo
guitar, Op. 87b
-
Frédéric Chopin wrote a
Tarantelle in A-flat, Op. 43 with the characteristic 6/8
time signature. It was inspired specifically by
Rossini's's song "La
Danza"
-
John Corigliano wrote a Tarantella as the fourth movement of
his Gazebo Dances.
-
Claude Debussy wrote a piece called "Danse (Tarantelle
styrienne)."
-
Leopold Godowsky transcribed
Chopin's
Etude Op. 10, No. 5 "Black Key" into a tarantella for
the piano.
-
Helmut Lachenmann's twelfth movement of Tanzsuite mit
Deutschlandlied (1979–80) is Tarantelle.
-
Franz Liszt composed a piece called "Tarantella, Venezia e
Napoli" (No. 3 from
Années de pèlerinage, 2nd Year: Italy), which is in a
rapid tempo also in 6/8 time.
-
Felix Mendelssohn wrote a piece called "Tarantella" in 1845
(Op. 102, No. 3). The final movement of his
Italian Symphony is in the form of a tarantella.
-
David Popper wrote a piece called Tarantella (Op.
33), written in 6/8 time.
- The fourth of
Sergei Prokofiev's twelve easy pieces for piano—Musique
d'Enfants, Op. 65—is a Tarantella.
-
Sergei Rachmaninoff's
Suite No. 2 for Two Pianos, Op. 17, features a
tarantella for its finale.
-
Gioachino Rossini's song "La
Danza" is a Neapolitan tarantella.
-
Camille Saint-Saëns composed "Tarantella" Op. 6 in A minor
for flute, clarinet and orchestra, or for flute, clarinet and
piano. He also transcribed this piece for two pianos.
- The last movement of the
Piano Concerto No. 2 in G minor by
Camille Saint-Saëns is a tarantella.
-
Pablo de Sarasate composed an Introduction and Tarantella
for violin.
-
Franz Schubert's
Death and the Maiden Quartet uses a tarantella in the
frenetic fourth movement.
-
Franz Schubert's Piano Sonata in C minor, last
movement, is a tarantella/rondo.
- The fourth movement of Schubert's
Symphony No. 3 is also a tarantella, but following the
Sonata form.
-
William Henry Squire wrote a tarantella for cello in D
minor.
- The fifth movement of
Igor Stravinsky's
Suite italienne is a tarantella.
-
Pyotr Ilyich Tchaikovsky's
Capriccio Italien ends in a frenzied variation of a
tarantella. Also, one of his Pas de Deux in
The Nutcracker features a tarantella.
-
Mark-Anthony Turnage composed a violin concerto entitled
Mambo, Blues and Tarantella in 2007, with the tarantella
being the finale.
-
Henryk Wieniawski composed a well-known violin masterpiece,
called Scherzo-Tarantella, Op. 16
- Tarantella for Piano and Orchestra was composed by
American composer
Michael Glenn Williams for pianist
Sean Chen
- The last movement of
Malcolm Williamson's Sinfonietta (1965) is a
tarantella.
-
Albert Pieczonka wrote a piece titled Tarantella.
Other uses
- In literature
- In film
- In games
- In manga/anime
- In "Axis
Powers Hetalia", South Italy/Romano cures his disease by
dancing the tarantella with Spain. His character song, "The
Delicious Tomato Song", is a tarantella.
See also
Sources
-
Jump up ^
Blatter, Alfred (2007).
Revisiting music theory: a guide to the practice, p.28.
ISBN 0-415-97440-2.
-
Jump up ^
Morehead, P.D., Bloombury
Dictionary of Music, London, Bloombury, 1992
-
Jump up ^
Linnaeus would name the spider
Lycosa tarantula in 1758
-
Jump up ^
"POISONOUS SPIDER BITES.".
The Queenslander (Brisbane, Qld. : 1866 - 1939)
(Brisbane, Qld.: National Library of Australia). 8 September
1923. p. 2. Retrieved 1
September 2013.
-
Jump up ^
R.Lowe Thompson. The History
of the Devil. Paul, Trench, Tubner and Co. (1929),
p.164.
-
Jump up ^
John Compton. The Life of the Spider. Mentor
Books (1954), p. 56f.
-
Jump up ^
Toschi, Paolo (1950).
Proceedings of the Congress Held in Venice September 7th to
11th, 1949: "A Question about the Tarantella", Journal of
the International Folk Music Council, Vol. 2. (1950), p.
19. Translated by N. F.
-
Jump up ^
Ettlinger, Ellen (1965). Review
of "La Tarantella Napoletana" by Renato Penna (Rivista di
Etnografia), Man, Vol. 65. (Sep. – Oct., 1965),
p. 176.
-
Jump up ^
Hecker, Justus. Quoted in Sear,
H. G. (1939).
-
Jump up ^
Sear, H. G. (1939). "Music and
Medicine", p.45, Music & Letters, Vol. 20, No. 1.
(Jan., 1939), pp. 43–54. Note that Sear may mistake the
Neapolitan and Apulian tarantellas and that those by
Romantic composers to which he refers may have been intended
as Neapolitan.
-
^
Jump up to:
a
b
Rishton, Timothy J. (1984). "Plagiarism, Fiddles and
Tarantulas", The Musical Times, Vol. 125, No. 1696.
(Jun., 1984), pp. 325–327.
External links
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