Historical SourcePublic Domain
Doce Contradanzas Nuevas Abiertas, hechas para el Principe N. Sr. las que se baylaron en este presente ano de 1775; con su musica de primero, y segundo Violin, y la explicacion de figuras (Joachin Ibarra, Madrid 1775)
Publisher: D. Joachin Ibarra, impresor de Camara de S.M. / Libreria de Fermin Nicasio, calle del Carmen esquina a la Zarza, Madrid 1775. Biblioteca Nacional de Espana scan. Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1775-Contradanzas_(BNE).txt (145 lines OCR; clean Spanish 18c print with missing music-plate pages). STRUCTURE: 12 unnamed-but-numbered Contradanzas Abiertas composed for the Spanish Prince of Asturias (the future Carlos IV) and performed at court in 1775. Each is a two-part (Primera Parte, Segunda Parte) longways-set contradanza described in compases units (typically 8+8 compases per Parte). FIGURE VOCABULARY: the 12 Contradanzas use a Spanish-Madrid late-18c vocabulary that mixes Iberian (paseo, cadena, sarse, esquinas, puente, ocho, media alemanda, caracol, galopa, pastel, ala, rueda, cabecera, costado) and French-imported (media cadena, media alemanda, chasse) mouvements. The 'sarse' (chassé-saut combination) and 'pastel' (closed-circle finale) are attested here with the same Madrid-court technical vocabulary later codified in Ferriol 1745 and Minguet 1760c. HISTORIC SIGNIFICANCE: the Prince of Asturias — the future Carlos IV of Spain (reigned 1788-1808), who would preside over the Goya/Boccherini/Casa de Alba late-Bourbon court-ball culture — is here (as a 27-year-old) commissioning his own named contradanza repertoire for the Madrid court 13 years before ascending the throne. Documents the Iberian contradanza tradition in Madrid 6 years after the Valencia Monsort 1769 carnival booklet, during the Castilian-court adoption of French-Italian theatrical dance forms. Companion to the already-ingested LOC-1769-MONSORT (Valencia 1769, 40 dances) and LOC-1760c-MINGUET (Madrid 1760c, pedagogical). ROSETTA STONE LINKS: zero cross-syllabus matches (the 12 Contradanzas are anonymous court-commissioned compositions, not named repertoire pieces circulating elsewhere). 12 new H-BAR-CD canonicals. Has_Step_Detail = None (formation-narrative figure-by-compas descriptions are present; per-step Spanish Foot-Position / Castanet-rhythm / Pas-vocabulary are not given — consistent with the Monsort 1769 pattern).Year: 1775Family: ibarraCatalog: local
Dance manual/reference by D. Joachin Ibarra, impresor de Camara de S.M. / Libreria de Fermin Nicasio, calle del Carmen esquina a la Zarza, Madrid 1775. Biblioteca Nacional de Espana scan. Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1775-Contradanzas_(BNE).txt (145 lines OCR; clean Spanish 18c print with missing music-plate pages). STRUCTURE: 12 unnamed-but-numbered Contradanzas Abiertas composed for the Spanish Prince of Asturias (the future Carlos IV) and performed at court in 1775. Each is a two-part (Primera Parte, Segunda Parte) longways-set contradanza described in compases units (typically 8+8 compases per Parte). FIGURE VOCABULARY: the 12 Contradanzas use a Spanish-Madrid late-18c vocabulary that mixes Iberian (paseo, cadena, sarse, esquinas, puente, ocho, media alemanda, caracol, galopa, pastel, ala, rueda, cabecera, costado) and French-imported (media cadena, media alemanda, chasse) mouvements. The 'sarse' (chassé-saut combination) and 'pastel' (closed-circle finale) are attested here with the same Madrid-court technical vocabulary later codified in Ferriol 1745 and Minguet 1760c. HISTORIC SIGNIFICANCE: the Prince of Asturias — the future Carlos IV of Spain (reigned 1788-1808), who would preside over the Goya/Boccherini/Casa de Alba late-Bourbon court-ball culture — is here (as a 27-year-old) commissioning his own named contradanza repertoire for the Madrid court 13 years before ascending the throne. Documents the Iberian contradanza tradition in Madrid 6 years after the Valencia Monsort 1769 carnival booklet, during the Castilian-court adoption of French-Italian theatrical dance forms. Companion to the already-ingested LOC-1769-MONSORT (Valencia 1769, 40 dances) and LOC-1760c-MINGUET (Madrid 1760c, pedagogical). ROSETTA STONE LINKS: zero cross-syllabus matches (the 12 Contradanzas are anonymous court-commissioned compositions, not named repertoire pieces circulating elsewhere). 12 new H-BAR-CD canonicals. Has_Step_Detail = None (formation-narrative figure-by-compas descriptions are present; per-step Spanish Foot-Position / Castanet-rhythm / Pas-vocabulary are not given — consistent with the Monsort 1769 pattern). (1775). Imported from local collection.