Historical SourcePublic Domain
Wohlgegründete Tantz-Kunst — auff Begehren seiner Herren Scholaren und vielen anderen Liebhabern, zum drittenmahl vermehret, verbessert und ausgegeben mit unterschiedlichen Kupffern und Figuren (Behr, Leipzig 1709, 3rd ed.)
Publisher: Samuel Rudolph Behrens [Behr], Maitre de Dance / Leipzig, 1709 (VD18 10442812; urn:nbn:de:gbv:3:1-194149). Source: Universitäts- und Landesbibliothek Sachsen-Anhalt (Halle) scan, 1709-Behr-Maitre_(ULB).txt (729 lines, German Fraktur OCR). THIRD EDITION ("zum drittenmahl vermehret, verbessert und ausgegeben mit unterschiedlichen Kupffern und Figuren") of Behr's foundational early-18c German-language dance treatise. Behr (active Leipzig, also Halle and other Saxon cities) was one of the principal German advocates of the Beauchamp-Feuillet pedagogical system. Chapter structure: (Cap. I) Of the origin of common natural and artificial dance, with biblical and ancient (Greek/Roman) precedents — Miriam, David, the Lacedemonian sword-dances, the Roman pantomime tradition of Pylades and Bathillus (Augustan Rome), Numa Pompilius and the Salii (Mars-priests); discussion of recent Louis XIV ballets at the French court — Ballet des Quatre Saisons, des Cinq Sens, de la Patience, des Muses, du Triomphe de l'Amour, in which Monsieur le Duc d'Orléans himself danced; references Le Duc de Condé's praise as one of the best dancers in France; (Cap. II) The spread of ballet-culture from France through Germany and the Nordic kingdoms; (Cap. III) Wie ein Tantz-Meister beschaffen sein muß — what a Dance-Master must know: (1) Mathematik (geometry of step proportion), (2) Instrumental Musik (composition for dance), (3) Musikalische Composition (Cadence, Tempo, Mouvement of all dances, Entrées, Ballets), (4) Poesie (libretto for the Ballet); names contemporary Saxon Maitres de Danse and Capellmeister: Pantlon (Eisenach Hofkapell-meister), Telemann (Sorau Hochgräflich Promnitz Capellmeister), Strunken (deceased royal/electoral Saxon Capellmeister), Kuhnau (Leipzig Cantor and Director Musices), the contemporary Tanz-Meister Pasch and Pfeumer in Leipzig; (Cap. IV) Anatomical-mechanical theory of the four-fold motion — Flexion (per Mufculos Tibiæum & Peronæum, Bicipitem & Semimembranofum, Pfoam & Iliacum), Adduction (per Sarto-rium & Gracilem), Extension (per Gafterocnemios, Soleum, Plantarem), Abduction — applied to every Pas; predates Weaver 1721 'Anatomical and Mechanical Lectures upon Dancing' by twelve years, establishing Behr as an independent German originator of the dance-anatomy pedagogical paradigm later associated with Magri 1779, Blasis 1820, Bournonville, Cecchetti, Vaganova. HISTORIC SIGNIFICANCE: third principal German-language Beauchamp-Feuillet treatise after the IHP 1705 (LOC-1705-IHP-DKB) and Bonnefond 1705 (LOC-1705-BONNEFOND), and predating both Bonin 1712 and Taubert 1717 (LOC-1717-TAUBERT) — establishing the German Saxon-Saxon-Anhalt cohort as the dominant early-18c German-language Feuillet-pedagogy lineage. Step_Coverage=None; theoretical/pedagogical prose, the engraved Kupffer und Figuren are not OCR-extractable.Year: 1709Family: behrCatalog: local
Dance manual/reference by Samuel Rudolph Behrens [Behr], Maitre de Dance / Leipzig, 1709 (VD18 10442812; urn:nbn:de:gbv:3:1-194149). Source: Universitäts- und Landesbibliothek Sachsen-Anhalt (Halle) scan, 1709-Behr-Maitre_(ULB).txt (729 lines, German Fraktur OCR). THIRD EDITION ("zum drittenmahl vermehret, verbessert und ausgegeben mit unterschiedlichen Kupffern und Figuren") of Behr's foundational early-18c German-language dance treatise. Behr (active Leipzig, also Halle and other Saxon cities) was one of the principal German advocates of the Beauchamp-Feuillet pedagogical system. Chapter structure: (Cap. I) Of the origin of common natural and artificial dance, with biblical and ancient (Greek/Roman) precedents — Miriam, David, the Lacedemonian sword-dances, the Roman pantomime tradition of Pylades and Bathillus (Augustan Rome), Numa Pompilius and the Salii (Mars-priests); discussion of recent Louis XIV ballets at the French court — Ballet des Quatre Saisons, des Cinq Sens, de la Patience, des Muses, du Triomphe de l'Amour, in which Monsieur le Duc d'Orléans himself danced; references Le Duc de Condé's praise as one of the best dancers in France; (Cap. II) The spread of ballet-culture from France through Germany and the Nordic kingdoms; (Cap. III) Wie ein Tantz-Meister beschaffen sein muß — what a Dance-Master must know: (1) Mathematik (geometry of step proportion), (2) Instrumental Musik (composition for dance), (3) Musikalische Composition (Cadence, Tempo, Mouvement of all dances, Entrées, Ballets), (4) Poesie (libretto for the Ballet); names contemporary Saxon Maitres de Danse and Capellmeister: Pantlon (Eisenach Hofkapell-meister), Telemann (Sorau Hochgräflich Promnitz Capellmeister), Strunken (deceased royal/electoral Saxon Capellmeister), Kuhnau (Leipzig Cantor and Director Musices), the contemporary Tanz-Meister Pasch and Pfeumer in Leipzig; (Cap. IV) Anatomical-mechanical theory of the four-fold motion — Flexion (per Mufculos Tibiæum & Peronæum, Bicipitem & Semimembranofum, Pfoam & Iliacum), Adduction (per Sarto-rium & Gracilem), Extension (per Gafterocnemios, Soleum, Plantarem), Abduction — applied to every Pas; predates Weaver 1721 'Anatomical and Mechanical Lectures upon Dancing' by twelve years, establishing Behr as an independent German originator of the dance-anatomy pedagogical paradigm later associated with Magri 1779, Blasis 1820, Bournonville, Cecchetti, Vaganova. HISTORIC SIGNIFICANCE: third principal German-language Beauchamp-Feuillet treatise after the IHP 1705 (LOC-1705-IHP-DKB) and Bonnefond 1705 (LOC-1705-BONNEFOND), and predating both Bonin 1712 and Taubert 1717 (LOC-1717-TAUBERT) — establishing the German Saxon-Saxon-Anhalt cohort as the dominant early-18c German-language Feuillet-pedagogy lineage. Step_Coverage=None; theoretical/pedagogical prose, the engraved Kupffer und Figuren are not OCR-extractable. (1709). Imported from local collection.