The sound-related physical movements in Les Sauvages can be experienced as musical gestures. When mirrored against the history of eighteenth-century dance, one notices some similarities between the music-related hand actions required by Les Sauvages and the contemporary la danse grotesque.10
In eighteenth-century Italy and France, ballet was often subdivided into four
6 These sort of chromatic passages are naturally common in Baroque music.
7 Parrhesia, Licentia; an insertion of a dissonance, such as a cross relation or tritone, on a weak beat (Bartel 1997, 352). Bartel talks about a cross relation, instead of a false relation. Both terms are used.
8 Rameau describes percussive keyboard techniques (among others) in his De la méchanique des doigts sur le clavessin: “There are two other types of batteries, an example of which will be found in the piece entitled Les Cyclopes: in one of these batteries, the hands between them, make the consecutive movement of two drumsticks […]” (Rameau [1724] 2000, 19.)
9 Theater director, dramaturge Pauliina Hulkko appropriated the awkwardness of La Stile Grotesque into her Pavlova Experiment II, a performance and a choreography inspired by Chorégraphie, ou l´art de décrire la danse par les caractères (1700) by Raoul-Auger Feuillet.
10 For grotesque, see Bahtin 1965; Hulkko 2013, 261–268.
Figure 4. Doliver, Jean. etching and engraving after Jean Berain. Costume of an Indian Woman from the Ballet Triumph of Love 1881–92. the Metropolitan Museum of art.
broad styles (Fairfax 2003, 83). According to Gallini there were four divisions of dance character: the serious, the half-serious, the comic, and the grotesque (Gallini [1762] 2008, 49–89):
As to the different characters of dances, there are, properly speaking, four divisions of the characters of dances: the serious, the half serious, the comic, and the grotesque; but for executing any of them with grace, the artist should be well grounded in the principles of the serious dance, which will give him what may be called a delicacy of manner in all the rest.
But as one of these divisions may be more adapted to the humor, genius, or powers of an artist, than another, he should, if he aims at excellence, examine carefully for which it is that he is the most fit.
The comic and grotesque genres were especially used in caricatures, and made use of gesture and mime rather than merely dance-like attitudes of the arms and legs. Gallini argues ([1762] 2008, 49–89):
The comic, or grotesque dancers, indeed are in possession of a branch of this art, in which they are dispensed from exhibiting the serious or pathetic; however, they may be otherwise as well acquainted with the fundamental principles of the art as the best masters. But as their success depends chiefly on awakening the risible faculty, they commonly choose to throw their whole powers of execution into those motions, gestures, grimaces, and contortions, which are fittest to give pleasure by raising a laugh. And certainly this has its merit; but in no other proportion to the truth of the art, which consists in moving the nobler passions, than as farce is to tragedy or to genteel comedy.
In their attempt to paint the unrefined naturalness or the oddity of their character, the comic and grotesque had recourse to a repertory of droll jumps and positions and to a line of body different from the serious and half-serious styles.
The comic dance in portrayal of the “commoner” sorts of humanity (peasants, servants, villagers) could include non-classical elements. However, it was the grotesque dance that contained the utmost acrobatic peculiarities; extreme movements and jumps marked by exaggeration and even contortion (see figure 5).
According to Gallini ([1762] 2008, 49–89):
As to the grotesque style of dance, the effect of it chiefly depends on the leaps and height of the springs. There is more bodily strength required in it than even agility and sl[e]ight. It is more calculated to surprise the eye than to entertain.
The jumps were breathtakingly high and often included elements of contortion called “suppleness of the limbs”. For example, the jump called spazzacampagna meant that the dancer was able to swing both his feet above his head during the spring.
Often the idea was to represent different, supposedly exotic nations or peoples like Spaniards or Turks… or Indians!
Gallini ([1762] 2008 181– 227) gives a “summary account of various kinds of
dances in different parts of the world”: in Asia, in America and in Europe. As part of this summary he describes the famous “dance of the calumet”:
Among the savages of North-America, we are told there are various dances practiced, such as that of the calumet, the leaders dance, the war dance, the marriage dance, the sacrifice dance, all which, respectively differ in the movements, and some, amidst all the wildness of their performance, are not without their graces. But the dance of the calumet is esteemed the finest; this is used at the reception of strangers whom they mean to honor, or of am-bassadors to them on public occasions. This dance is commonly executed in an oval figure.
The Americans, in some parts, prescribe this exercise by way of physic, in their distempers:
a method of treatment, not, it seems unknown to the antients: but, in general, their motive for dancing is the same as with the rest of the world, to give demonstrations of joy and welcome to their guests, or to divert themselves. On some occasions indeed, they make them part of the ceremony at their assemblies upon affairs, when even their public debates are preceded by dancing, as if they expected that that exercise would rouse their mental faculties, and clear their heads. The war dance is also used by them, by way of proclamation of war against their enemies.
The caricaturing of the representatives of an exotic country can be detected in Les Sauvages. The player will experience elements of unnaturally long leaps, perilously high jumps and strangely bending limbs. All of these uncomfortable and ungraceful movements are an important part of the music itself, creating the awkward and astonishing atmosphere needed for the drama.
The discomfort is perceived bodily, as awkward intervals and stretches for the fingers, a wide gap between the hands, emptiness of the middle register, and sudden angular movements. There is an element of danger in the many opportunities for falling short of the right spot, missing the correct note and dropping into unknown territory. A feeling of haste is created by giving as much time for the “easy” passages as for the more athletic ones.
However, this does not mean that we shall find out what this music “means”
Figure 5. scaramouche doing his pas de Scaramouche, after Johann Georg Puschner. (Fairfax 2003, 129.)
semantically. Rather it reminds us that music has its immanent meaningfulness, which is different from the semantic meaning of language.11