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{{Use shortened footnotes|date=April 2021}}
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[[File:Branle d'Ossau.jpg|thumb|250px|''Branle d'Ossau'' by Alfred Dartiguenave, 1855–1856]]
A '''branle''' (
==History==
===Beginnings and courtly adoption===
The name ''branle'' derives from the French verb ''branler'' (to shake, wave, sway, wag, wobble), referring to the side-to-side movement of a circle or chain of dancers holding hands or linking arms.{{
The branle was danced by a chain of dancers, usually in couples, with linked arms or holding hands. The dance alternated a number of larger sideways steps to the left (often four) with the same number of smaller steps to the right so that the chain moved gradually to the left.
Although originally
Some aristocratic branles included pantomime elements, such the branle de Poitou, the possible ancestor of the minuet, which acts out gestures of courtship. Some of these dances were reserved for specific age groups - the branle de Bourgogne, for instance, for the youngest dancers. Branle music is generally in common time somewhat like the [[gavotte]], though some variants, like that of Poitou, are in triple time.{{r|Scholes1970}} Branles were danced walking, running, gliding, or skipping depending on the speed of the music.{{r|Branle_Britannica1998}} Among the dance's courtly relations may be the basse danse and the [[passepied]]{{r|Scholes1970}} which latter, though it is in triple time, [[Rabelais]] and [[Thoinot Arbeau]] (1589) identify as a type of Breton branle.
===The branle in Arbeau===
Arbeau gives choreographies for eight branles associated with specific regions; the Burgundian (see above) or Champagne, the Haut Barrois, the Montardon, the Poitou, the Maltese, the Scottish and the Trihory of Brittany; he also mentions four others without describing their steps; the branles of Camp, Hainaut, Avignon, and Lyon {{harv|Arbeau|1967|loc=135–36, 146–53, 163, 167–69}}. Most of these dances seem to have a genuine connection to the region: the Trihory of Brittany, Arbeau says, was seldom if ever performed around [[Langres]] where his book was published, but "I learned it long ago from a young Breton who was a fellow student of mine at Poitiers" {{harv|Arbeau|1967|loc=151}}. ▼
The first detailed sources for the dance's steps are found in Arbeau's famous text-book ''Orchesography''. Antonius de Arena briefly describes the steps for the double and single branle,{{sfn|Arena|1986|pp=20–1}} and John Marston's ''The Malcontent'' (1604) sketches the choreography of one type. According to Arbeau, every ball began with the same four branles: the double, the single, the gay and the Burgundian branle.{{sfn|Arbeau|1967}}{{Page needed|date=October 2014}} The double branle had a simple form involving two phrases of two bars each.
▲Arbeau gives choreographies for eight branles associated with specific regions; the Burgundian (see above) or Champagne, the Haut Barrois, the Montardon, the Poitou, the Maltese, the Scottish and the Trihory of Brittany; he also mentions four others without describing their steps; the branles of Camp, Hainaut, Avignon, and Lyon
On the other hand, Arbeau identifies some branles as adapted to ballet and mime. When his student Capriol asks whether the Maltese branle is native to Malta, rather than just "a fanciful invention for a ballet", Arbeau replies that he "cannot believe it to be other than a ballet" {{harv|Arbeau|1967|loc=153}}. He also describes a "Hermit" branle based upon mime.▼
▲On the other hand, Arbeau identifies some branles as adapted to ballet and mime. When his student Capriol asks whether the Maltese branle is native to Malta, rather than just "a fanciful invention for a ballet", Arbeau replies that he "cannot believe it to be other than a ballet"
There were several well-established branle suites of up to ten dances; the ''Branles de Champagne'', the ''Branles de Camp'', the ''Branles de Hainaut'' and the ''Branles d'Avignon''. Arbeau named these suites ''branles coupés'', which literally means "cut" or "intersected" branles but is usually translated as "mixed branles" {{harv|Arbeau|1967|loc=137 and 203 n93}}. Antonius de Arena mentions mixed branles (''branlos decopatos'') in his [[Macaronic language|macaronic]] treatise ''Ad suos compagnones'' {{harv|Arena|1986 [1529]|loc=20–21}},▼
===The suite of branles===
By 1623 such suites had been standardized into a set of six dances: ''premier bransle'', ''bransle gay'', ''bransle de Poictou'' (also called ''branle à mener''), ''bransle double de Poictou'', ''cinquiesme bransle'' (by 1636 named ''branle de Montirandé''), and a concluding ''gavotte'' {{harv|Semmens|1997|loc=36}}. A variant is found in the ''Tablature de mandore'' (Paris, 1629) by François, Sieur de Chancy. A suite of seven dances collectively titled ''Branles de Boccan'' begins with a ''branle du Baucane'', composed by the dancing master and violinist Jacques Cordier, known as "Bocan", followed by a second, untitled branle then the ''branle gay'', ''branle de Poictu'', ''branle double de Poictu'', ''branle de Montirandé'' and ''la gavotte'' {{harv|Tyler|1981|loc=26}}.▼
▲There were several well-established branle suites of up to ten dances; the ''Branles de Champagne'', the ''Branles de Camp'', the ''Branles de Hainaut'' and the ''Branles d'Avignon''. Arbeau named these suites ''branles coupés'', which literally means "cut" or "intersected" branles but is usually translated as "mixed branles"
▲By 1623 such suites had been standardized into a set of six dances: ''premier
In the late 16th century in England the branle was mentioned by Shakespeare (Love's Labor's Lost, 3. 1. 7: "Will you win your love with a French brawl?"). In the 17th century it was danced at the courts of [[Louis XIV]] of France and [[Charles II of England]], where it became "even more common than in France" {{harv|Scholes|1970|loc=125}}. There are even a few late examples in [[Beauchamp-Feuillet notation]] (invented in 1691), such as ''Danses nouvelles presentees au Roy'' (c. 1715) by [[Louis-Guillaume Pécour]].▼
===The fame of the branle===
In [[Italy]] the branle became the ''brando'', and in [[Spain]] the ''bran'' {{harv|Dolmetsch|1959|loc={{Page needed|date=January 2011}}}}. The Branle seems to have travelled to [[Scotland]] and survived for some time as the ''brail''. [[Emmanuel Adriaenssen]] includes a piece called ''Branle Englese'' in his book of [[lute]] music, ''Pratum Musicum'' (1584) and [[Thomas Tomkins]]' ''Worster Braules'' is included in the [[Fitzwilliam Virginal Book]]. But of thousands of [[lute]] pieces from England only 18 were called branle, though one called "courant" is known from continental sources as a branle {{harv|Craig-McFeely|1994|loc=chapter 2, note 22}}.▼
▲In the late 16th century in England the branle was mentioned by Shakespeare (''[[Love's
▲In [[Italy]] the branle became the ''brando'', and in [[Spain]] the ''bran''
==Branles not mentioned by Arbeau==▼
The Branle de Montirandé appears to be related to the Haut Barrois branle, which Arbeau says was "arranged to the tune of a branle of Montierandal" (probably Montier-en-Der, near Chaumont in the Haute Marne)
In [[John Marston (poet)|John Marston]]'s ''The Malcontent'' (1604), act 4, scene 2, the character Guerrino describes the steps of a dance called ''Beanchaes brawl'' (Bianca's branle): <blockquote>t'is but two singles on the left, two on the right, three doubles forward, a trauerse of six round: do this twice, three singles side, [[galliard]] tricke of twentie, curranto pace; a figure of eight, three singles broken downe, come vp, meete two doubles, fall backe, and then honour.</blockquote> The opening is the same as the Maltese branle described by Arbeau, but starting with "three singles side", there is an interpolation of "something presumably more athletic". The male dancer moves away from his partner before performing a "galliard trick of twenty"—apparently a number of capers or leaps in the manner of the galliard—before returning to the conventional ending
▲In [[John Marston (poet)|John Marston]]'s ''The Malcontent'' (1604), act 4, scene 2, the character Guerrino describes the steps of a dance called ''Beanchaes brawl'' (Bianca's branle): <blockquote>t'is but two singles on the left, two on the right, three doubles forward, a trauerse of six round: do this twice, three singles side, galliard tricke of twentie, curranto pace; a figure of eight, three singles broken downe, come vp, meete two doubles, fall backe, and then honour.</blockquote> The opening is the same as the Maltese branle described by Arbeau, but starting with "three singles side", there is an interpolation of "something presumably more athletic". The male dancer moves away from his partner before performing a "galliard trick of twenty"—apparently a number of capers or leaps in the manner of the galliard—before returning to the conventional ending {{harv|Marston|1999|loc=107, editor's note}}.
==Revivals==
*[[Francis Poulenc]] includes a Bransle de Champagne and a Bransle de Bourgogne in his ''[[Suite française (Poulenc)|Suite Française]]'' (1935).▼
▲*[[Francis Poulenc]] includes a Bransle de Champagne and a Bransle de Bourgogne in his ''Suite Française'' (1935).
*[[Igor Stravinsky]] includes a Bransle Simple, Bransle Gay, and Bransle de Poitou (Double) in his ''[[Agon (ballet)|Agon]]'' (1957).
*The air of Arbeau's "Branle de l'Official" was adapted for the 20th-century English Christmas carol "[[Ding Dong Merrily on High]]".
*The [[Capriol Suite]] by the British composer [[Peter Warlock]] features a bransles as its fourth movement. The piece is a collection of six folk dances arranged originally for four hands piano, but was then arranged by Warlock for both string orchestra and full orchestra.
==References==▼
▲==References==
* {{
}}
* {{cite journal |last=Arena |first=Antonius |orig-date=1529 |title=Rules of Dancing |translator=John Guthrie and Marino Zorzi |journal=Dance Research |volume=4 |issue=2 |date=Autumn 1986 |pages=3–53|doi=10.2307/1290725 |jstor=1290725 }}
* {{cite book |ref=harv| last=Dolmetsch|first=Mabel| title=Dances of England and France, from 1450 to 1600, with Their Music and Authentic Manner of Performance | place=London |edition=2nd | publisher=Routledge and Kegan Paul | year=1959}} Reprinted New York: Da Capo Press, 1975. ISBN 978-0-306-70725-4.▼
* {{wikicite|ref={{harvid|Expert|19894–1908}}|reference=Expert, Henry (1894–1908). ''Les maîtres musiciens de la renaissance française, éditions publiées par m. Henry Expert. Sur les manuscrits les plus authentiques et les meilleurs imprimés du XVIe siècle, avec variantes, notes historiques et critiques, transcriptions en notation moderne, etc.'' 23 volumes. Paris: Alphonse Leduc. Volume 23: ''Danceries''. Facsimile reprint, New York: Broude Brothers, 1952–64. {{ISBN
* {{wikicite|ref={{harvid|Library of Congress|n.d.}}|reference=Library of Congress (n.d.). "[http://memory.loc.gov/ammem/dihtml/diessay2.html Renaissance Dance]". American Memory site (Accessed 30 January 2011).}}
* {{wikicite|ref={{harvid|Marston|1999}}|reference=Marston, John (1999). ''The Malcontent'', edited by George K. Hunter, with a new introduction, together with a revised reading text and commentary notes. Revels Plays. Manchester University Press. ISBN 0-7190-3094-3.}}▼
* {{wikicite|ref={{harvid|Marston and Webster|1604}}|reference=Marston, John, and John Webster (1604). ''The Malcontent. Augmented by Marston. With the Additions Played by the Kings Maiesties Servants. Written by Ihon Webster''. London: Printed by V. S. for William Aspley.}}
* {{wikicite
* {{wikicite|ref={{harvid|Semmens|1997}}|reference=Semmens, Richard T. (1997). "Branles, Gavottes and Contredanses in the Later Seventeenth and Early Eighteenth Centuries". ''Dance Research'' 15, no. 2 (Winter): 35–62.}}▼
'''Footnotes'''
* {{wikicite|ref={{harvid|Tyler|1981}}|reference=Tyler, James (1981). "The Mandore in the 16th and 17th Centuries". ''Early Music'' 9, no. 1 (January: Plucked-String Issue 1): 22–31.}}▼
{{reflist|refs=
<ref name=Branle_Britannica1998>{{cite web |title=Branle, dance |date=20 July 1998 |website=Encyclopædia Britannica |access-date=13 April 2021 |url=https://www.britannica.com/art/branle}}</ref>
<ref name=GroveDict2001_Branle>{{cite book |last=Heartz |first=Daniel |date=2001 |chapter=Branle [brande, brawl, brall, brangill] |editor1-last=Sadie |editor1-first=Stanley |editor1-link=Stanley Sadie |editor2-last=Tyrrell |editor2-first=John |editor2-link=John Tyrrell (professor of music) |title=[[The New Grove Dictionary of Music and Musicians]] |edition=2nd |location=London |publisher=Macmillan |isbn=9780195170672 }}</ref>
<ref name=Scholes1970>Scholes, Percy A. (1970). "Branle". ''The Oxford Companion to Music'', tenth, revised and rest edition, edited by John Owen Ward. London and New York: Oxford University Press.</ref>
▲
▲
▲
<ref name=CraigMcFeely1994_ch2n22>{{cite thesis |last=Craig-McFeely |first=Julia |date=2000 |orig-date=1993 |title=English Lute Manuscripts and Scribes 1530–1630 |publisher=Oxford University |at=Chapter 2, note 22 |url=https://www.diamm.ac.uk/documents/253/JCM_dissertation.pdf}}</ref>
▲
}}
==Further reading==
*Bröcker, Marianne (1988). "Ein Branle—was ist das?" In ''Colloquium: Festschrift Martin Vogel zum 65. Geburtstag, überreicht von seinen Schülern'', edited by Heribert Schröder, 35-50. Bad Honnef: Schröder.
*Challet-Hass, Jacqueline (1977). ''Dances from the Marais Nord Vendéen. I: Les Maraichines (Branles and Courantes); II: Les Grand Danses and Other Dances''. Documentary Dance Materials No. 2. Jersey, Channel Islands: Centre for Dance Studies.
*Cunningham, Caroline M. (1971). "Estienne du Tertre and the Mid-sixteenth Century Parisian Chanson". ''[[American Institute of Musicology#Musica Disciplina|Musica Disciplina]]'' 25:127–70.
*Evers, Karsten and Frydrych, Ulrike: ''Französische Volkstänze, Volume 1 to 3'', Hildesheim and Eiterfeld, 1982, 1983 and 1987. Dance descriptions (in German), sheet music and audios. [https://www.karsten.evers.de/franztanz/ Download]
*Guilcher, Jean-Michel (1968). "Les derniers branles de Béarn et de Bigorre". ''Arts et Traditions Populaires'' (July–December): 259–92.
*Heartz, Daniel (1972). "Un ballet turc a la cour d'Henri II: Les Branles de Malte". ''Baroque: Revue International'' 5:17–23.
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*Mizzi, Gordon (2004). "The Branles de Malte". ''Classical Guitar'' 23, no. 1 (September): 35–37.
*Mullally, Robert (1984). "French Social Dances in Italy, 1528–9". ''Music & Letters'' 65, no. 1 (January): 41–44.
*[[Patri J. Pugliese|
*Richardson, Mark D. (1993). "A Manual, a Model, and a Sketch: The Bransle Gay Dance Rhythm in Stravinsky's Ballet ''Agon''". ''Mitteilungen der Paul Sacher Stiftung'', no. 16:29–35.
*Richardson, Mark Douglas (1996). "Igor Stravinsky's ''Agon'' (1953–1957): Pitch-Related Processes in the Serial Movements and Rhythm in the Named Dance Movements Described in De Lauze's ''Apologie de la danse'' (1623)". PhD diss. Tallahassee: Florida State University.
*[[Joan Rimmer|Rimmer, Joan]] (1987). "
*Rimmer, Joan (1989). "Carole, Rondeau and Branle in Ireland 1300–1800, Part 1: The Walling of New Ross and Dance Texts in the Red Book of Ossory". ''Dance Research'' 7, no. 1 (Spring): 20-46.
*Rimmer, Joan (1990). "Carole, Rondeau and Branle in Ireland 1300–1800, Part 2: Social and Theatrical Residues 1550–1800". ''Dance Research'' 8, no. 2 (Fall): 27–43.
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==External links==
{{Wiktionary}}
*[https://www.youtube.com/watch?v=2sKp8hJTxtk Video - Branle de Bourgogne revived in costume by Ardo Liltamor]
*[https://www.youtube.com/watch?v=a826x9x1oUs Video - Branle Gay in costume, by Melbourne University Renaissance Dance ensemble.]
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*[https://www.youtube.com/watch?v=_9jT0w8V2rA Video, live music on period instruments, Branle de Champaigne, double and simple, by Les Menestreux De La Branche Rouge]
[[Category:Dance forms in classical music]]▼
[[Category:French dances]]▼
[[Category:Renaissance dance]]
[[Category:Renaissance music]]
[[Category:Triple time dances]]
▲[[Category:French dances]]
▲[[Category:Dance forms in classical music]]
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