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This week, the ANAM students are joined by Sara Macliver (soprano), Paul Wright (violin) and Howard Penny (cello) for a program titled, Paul Wright & Howard Penny Direct.  This week will comprise of workshops, dance classes and lectures which will culminate in an orchestral and chamber music performance this Saturday night featuring works by Lully, Muffat and Purcell. As part of this orchestral week, Baroque dance expert Helga Hill, will be leading ANAM students and faculty in dances of the court and theatre of the Baroque period.

The great innovations in dance in the 17th century originated at the French court under Louis XIV, and it is here that the first clear stylistic ancestor of classical ballet began. The same basic technique was used both at social events, and as theatrical dance in court ballets and at public theatres. The style of dance is commonly known to modern scholars as the French noble style or belle danse (French, literally “beautiful dance”), however it is often referred to casually as baroque dance in spite of the existence of other theatrical and social dance styles during the baroque era. French dance types include Bourrée, Canarie (canary), Chaconne, Courante, Entrée grave, Forlane, Gavotte, Gigue, Loure (slow gigue), Menuet, Musette, Passacaille, Passepied, Rigaudon, Sarabande and Tambourin. Many of these dance types are familiar from baroque music, perhaps most spectacularly in the stylised suites of J. S. Bach.

Watch a performance of Anthony L’Abbé’s solo Passacaille to music by Jean-Baptiste Lully from the tragédie en musique Armide. This solo choreography was published in Beauchamp-Feuillet dance notation in 1711 by Edmund Pemberton, and was adapted from an earlier (c.1706) Passacaille for two women that is also extant in notation. As part of ANAM’s performance, the students will be performing selected arias from this famed Lully work.

Click here for more information about Paul Wright & Howard Penny Direct

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