This
evening's dance programme includes:
1. The Sussex Waltz (4:00)
[audio sample]
Also known as Michael Turner’s Waltz, this Mozart melody was passed down as a
traditional tune in England. It appears as untitled waltz #105 in a manuscript
tune book by Michael Turner (1796-1885) of Sussex. Listen for Mozart’s harmonies
in the flute and violin duo. (Mozart, KV 536 no. 2[Trio], 1788)
2. La Belle Assemblée March (0:56)
This short march signals dancers to take their positions for a country dance.
In the 18th century, an assembly was a gathering for social entertainment;
in the Regency era it usually included dancing. La Belle Assemblée
was also a popular British women’s magazine, first appearing in 1806 and published
by John Bell. (Wilson, 1816)
3. Country Dance Medley (32 bars):
[audio sample]
Miss Moore's Rant, Revenge, and Earl Breadalbain’s Reel (7:28)
Scottish tunes were popular in the Regency ballroom. The orchestra at the elite Almack’s
Assembly Rooms in London was from Edinburgh, conducted by Neil Gow, grandson of the
celebrated Scottish violinist and composer of the same name. Revenge is still popular
as an English country dance tune. (Willcox, 1793; Perkins MS, 1790; Wilson, 1816)
4. Sauteuse in Dm/F (1:48)
[audio sample]
Most of the melodies in Clarchies’ book contain no names; they are identified only
as “Waltz” or “Sauteuse” at the top of the page. The three pieces included on this
recording are unusual in that Clarchies printed a simple second part along with the
melody; we based our arrangements on these period harmonies. (Clarchies, 1815)
5. Scotch Reel: Lady Mary Ramsay (2:40)
Reels were an important part of any ball during the dancing years of Jane Austen and
her sister Cassandra. In the later years of the Regency era they lost ground not only
to the quadrille but also to couple dances such as the waltz and sauteuse. (Court & Bath, 1804)
Fashionable Parisian Quadrille (13:00):
6. No. 1 L'Annette (Le Pantalon, ABAC x 2 + A)
7. No. 2 L’Hipparchia (L’Été, ABB x 4 + A)
8. No. 3 La Corinne (La Poule, ABAC x 4 + A)
9. No. 4 La Belle Parisienne (La Trenis, ABBAC x 4 + A)
10. No. 5 La Rosalinde (La Finale, A + ABAC x 4 + A)
The quadrille was introduced from France early in the Regency era and became fashionable
by about 1815. A diary of the period (by Captain Gronow) states that Lady Jersey introduced
the quadrille to Almack’s Assembly Rooms in 1815. Dancing in square sets of four couples had
been popular for years, but the dances (known as cotillions) included a repeating chorus figure.
The quadrille kept the changing figures but dropped the repeating chorus. (Simonet, c.1820)
11. Slow Waltz in Bb (4:00)
The waltz was a new sensation in the Regency ballroom. Though introduced to England from
the continent around 1810, it took a couple of years to become popular. At first it was
considered scandalous because of the close embrace of dance partners, away from the other
dancers. (Clarchies, 1815)
12. La Boulanger (3:39)
This tune goes with the only dance Jane Austen mentioned by name. A very simple dance,
it can be adapted to sets of different sizes. Here it’s played six times for a three-couple
circle. It was sometimes used in place of Sir Roger de Coverley as the last dance of the evening.
(Dale, c.1800)
13. Sauteuse in D (1:22)
The sauteuse was a turning dance for couples in 2/4 time with small leaping steps (sauter
means to leap in French). It was done in a close embrace similar to that for the waltz.
Like that dance, it was introduced to England during the Regency era. (Clarchies, 1815)
14. Scotch Reel: Bonny Highland Laddie (2:38)
[audio sample]
Wilson lists this tune as Crookie Den; he explains that it’s often called the Bonny
Highland Laddie because of a song written to the original tune. (Wilson, 1816)
15. The Patriot’s Waltz (6:24)
[audio sample]
This waltz is arranged as 40 bars (AABBC) to fit the figures for a type of waltz country
dance known as the Spanish Dance. A version of one of these Regency-era dances remained
popular throughout the century as "the" Spanish Dance. Waltz country dances were
the first use of waltz music in England; music with figures for these appear in the
1804 Court & Bath Collection. (Chivers, 1822)
16. Country Dance Medley (24 bars): Amateurs and Actors & Elfrida (2:46)
At the start of the 19th century, country dances dominated English ball programs.
As quadrilles gained in popularity, these lost ground. Dancing masters attempted
to revive interest in country dances by inventing new figures and borrowing others
from quadrilles. (L’Assemblée, 1819)
17. Mrs. Chiver’s Favorite Waltz (2:46)
Thomas Wilson was a dancing master who filled his several volumes on dance with opinions.
In A Description of the Correct Method of Waltzing (1816) he states, “The musicians
ought to be instructed… to play the waltzes tenderly and distinctly, laying the emphasis
on the first note of each bar, which more clearly marks the time for the dancers…; without
such attention, the beauty and effect altogether will be completely destroyed, and
the dancers be disappointed." (Chivers, 1822)
18. Sir Roger de Coverley, or the Finishing Dance:
Sir Roger de Coverley, Andrew Carey, Rakes of Westmeath, and Hyp Doctor (6:50)
[audio sample]
This medley of slip jigs accompanies a dance that is the British precursor to the Virginia
Reel. Wilson identifies Sir Roger de Coverley as an “Old English” tune (though he describes
its close relative The Maltman Comes on Monday as “Very Old Scotch”). Wilson calls Rakes of
Westmeath “Old Irish” and the other two “Irish.” The figure’s role as the last dance of the
evening gave rise to its alternate name, The Finishing Dance. (all tunes from Wilson, 1816)
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