Der Weimarer Musenhof

Busch-Salmen, Gabriele; Salmen, Walter; Michel, Christoph M.

doi:10.1007/978-3-476-03748-0

Cited by 9 publications

(1 citation statement)

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“…As early as 1802, the music theorist Heinrich Christoph Koch pointed this out in his musical encyclopaedia: However, because minuets of this type are not intended for dancing, [...] one has deviated from the original arrangement of the minuet with regard to the tempo, [...] and they also perform it in a much faster tempo than it can be danced to. 23 Several of Mozart's opera arias are also called Tempo di Minuetto, but these utilized metrical structures and, often, the eight-bar division that recalled the dance movement. The earliest example was in the Singspiel entitled Bastien and Bastienne from 1768, followed by arias in La Finta Semplice (1768), Lucio Silla (1772), Zaide (1780), Le Nozze di Figaro (1785/86), and La Clemenza di Tito (1791).…”

Section: Mozart and The Minuetmentioning

confidence: 99%

3. The Minuet as Part of Instrumental and Dance Music in Europe

Opielka

2024

The Nordic Minuet

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The chapter examines the position of the minuet in Western classical music, in particular from the second half of the seventeenth century until the end of the eighteenth century. During this period, the minuet was the most popular ballroom dance in Europe and was thus the only baroque form of dance that survived the end of the era. The chapter discusses how from early on, composers distinguished between minuet tunes for dance and stylized minuet tunes. The latter ones have appeared in different musical contexts from baroque dance suites to expressionist orchestral works, and they play an important role in masterpieces of several significant composers.

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Section: Mozart and The Minuetmentioning

confidence: 99%