ExclusiveBach: Cello Suite No. 3 in C, BWV 1009 - 3. Courante 巴赫：C大調第3號大提琴組曲，BWV 1009 - 3. 康拉舞曲

【Classical music and nature 古典音樂小站】Johann Sebastian Bach: Cello Suite no. 3 in C, BWV 1009 - 3. Courante. This beautiful piece was played by Janos Starker. It has Creative Commons license and is provided through www.musopen.org.

What you are listening to here is the Cello Suite no. 3 in C, BWV 1009 - 3rd Courante by Johann Sebastian Bach.

"The courante or corrente was an old French dance in moderate 3/2 or 3/4 time, and never a folk dance, but only an artistic dance of the finer society from the 16th to the 18th century. The dance melody is characterised by lovely, graceful runs which (according to Mattheson's assumption) express sweet hope, longing and desire, and at the same time contain something heartfelt and joyful. It consists of a shorter and longer recapitulation, begins with a short upbeat and concludes with the difficult bar section. Its performance is more pushed than dragged. - It was sung, played on the violin, on the lute and on the piano. ... As its name (from the Latin currens saltatio) suggests, the courannte was a stepped dance, a dance with the lady, with many bows, stepping on the toes and other artificial passing episodes. After reverence, the dancer leads his dancer around in an oval or square with bent, bowed and hopping passes, back to the square, another reverence and the dance was over."

Source: Die Geschichte des Tanzes in Deutschland - Beitrag zur Sitten-, Litteratur- und Musikgeschichte nach den Quellen zum ersten mal bearbeitet und mit alten Tanzlieder und Musikproben herausgegeben von Franz M. Böhme, (Leipzig, 1886, page 127)

(The history of dance in Germany, contribution to the history of customs, literature and music, edited for the first time according to the sources and published with old dance songs and music samples by Franz M. Böhme, (Leipzig, 1886, page 127)

The révérence, performed at the end of a dance, was an expression of respect and politeness towards the audience and the dance partner, but it was much more than that.

In terms of outward form, the révérence can be thought of as a stylised bow, which played an important role in courtly society and in the dance of the Baroque period.

The révérence often involved an elegant combination of curtsying, bending the upper body and expressing respect through posture, expression and gaze. The révérence was a culturally significant form of showing respect, expressing custom, education, morality, politeness and decency.

Christian Schlegel filmed in the area of the Pyramides des Gypse on the Col de la Croix pass in the summer of 2023, the video was edited by Wenjing Ma.


【古典音樂小站】約翰·塞巴斯蒂安·巴赫：C大調第3號大提琴組曲，BWV 1009 - 3. 康拉舞曲。這首美麗的樂曲由揚諾什·斯塔克演奏。它具有創意共享許可證，並通過www.musopen.org提供。

您正在聆聽的是約翰·塞巴斯蒂安·巴赫的C大調第3號大提琴組曲，BWV 1009 - 第3號康拉舞曲。

“康拉舞曲（Courante）或康雷特（Corrente）是一種古老的法國舞蹈，以中等的3/2或3/4拍子進行，從16世紀到18世紀只是上流社會的一種藝術舞蹈，而不是民間舞蹈。這支舞曲的旋律以可愛而優雅的奔跑為特色，根據馬特松的假設，表達了甜蜜的希望、渴望和慾望，同時包含了一些衷心和喜悅的東西。它由較短和較長的重述組成，以短的上拍開始，以困難的小節結束。它的演奏比拖拉更加有力。- 它被唱歌、拉小提琴、彈琵琶和鋼琴演奏...正如它的名字（來自拉丁語currens saltatio）所暗示的，康拉舞曲是一種踏步舞蹈，一種與女士共舞的舞蹈，有許多鞠躬、踩踏腳趾和其他人為的過場。在致敬之後，舞者帶領舞伴在橢圓形或正方形中彎腰、鞠躬和跳躍，回到正方形，再次致敬，舞蹈結束。”

來源：Die Geschichte des Tanzes in Deutschland - Beitrag zur Sitten-, Litteratur- und Musikgeschichte nach den Quellen zum ersten mal bearbeitet und mit alten Tanzlieder und Musikproben herausgegeben von Franz M. Böhme, (Leipzig, 1886, page 127)

（德國舞蹈史，根據第一手資料編輯的風俗、文學和音樂史的貢獻，由弗朗茨·M·伯姆編輯，（萊比錫，1886年，第127頁）

致敬是舞蹈結束時對觀眾和舞伴表示尊重和禮貌的表達，但它不僅僅是如此。

在外在形式上，致敬可以被看作是一種程式化的鞠躬，在宮廷社會和巴洛克時期的舞蹈中起著重要作用。

致敬通常涉及優雅地結合鞠躬、彎腰和通過姿勢、表情和目光表達尊重。致敬是一種具有文化意義的尊重形式，表達習俗、教育、道德、禮貌和端莊。

克里斯蒂安·施萊格爾在2023年夏天在克羅斯山的石膏金字塔地區拍攝，視頻由馬文璟編輯。





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