Historical SourcePublic Domain
15e-30e Recueil des Contre-Danses et Walzes Inédites, Composées et Arrangées pour le Forte-Piano (Julien Clarchies / FRÈRE Père, Paris, c.1798-1810)
Publisher: FRÈRE Père, Marchand de Musique, Rue Vivienne, Paris (and FRÈRE fils, successor proprietor of the same Vivienne premises) — principal commercial music-publisher of the 1796-1815 Parisian fashionable-ballroom contredanse-and-waltz fascicle series. Composer/arranger: Julien Clarchies (1769-1815), French-Saint-Dominguan violinist and ballroom-orchestra leader who supplied dance-music for Directoire and Premier-Empire Parisian society balls. The 15e-30e numbering covers fascicles 15 through 30 of the bi-annual Frère Recueil series, spanning approximately 1798-1810. Source file: DATA/LOC/LOC_Ballroom_Text/179-clarchies-15e-30e_recueil_des_contre-danses_et_walzes.txt (LOC OCR, 854 lines, ~25 KB). FORMAT: alphabetically-titled named contredanses-figurées (LA + female-name or place-name, in classic Empire-era recueil convention) with French-language figure-prose listing the standard Parisian quadrille calls (Chaîne Anglaise / Balancez à vos Dames / Tour de mains / Demie queue du chat / Demie chaîne Anglaise / Chassez-déchassez / En avant deux / Traversez / Le grand rond / Figurez à droite / Changez de Dames / Reprenez vos Dames / Contre-partie pour les quatre autres etc.), interleaved with WALTZER (waltz) and ANGLAISE (English country dance) musical numbers. Each named contredanse uses the standard 5-figure quadrille architecture (Pantalon / Été / Poule / Pastourelle / Finale, with occasional Polonaise substitution). HISTORIC SIGNIFICANCE: fills the DIRECTOIRE-EMPIRE PARISIAN NAMED-CONTREDANSE-FIGURÉE genre gap in the LOD corpus between LOC-1788-KINGSBURY (American 1788 cotillon-collection) and LOC-1818-DUN (London 1818 fashionable-quadrilles transl.). Establishes the standard Empire-era Parisian quadrille-call vocabulary (Chaîne Anglaise / Demie queue du chat / Tour de mains / Balancez / Chassez-déchassez / Traversez / Contre-partie) 20-25 years before the London Quadrille codification of 1815-1820 (Paine, Wilson, Dun). The LA+female-name naming convention (LA HORTENSE for Hortense de Beauharnais, stepdaughter of Napoleon and Queen-Consort of Holland 1806-1810; LA JOSEPHINE for Empress Joséphine; LA VICTOIRE for the Napoleonic military victories; LA BIANCA / LA JENNY / LA AMABLE for the leading Parisian society women) ties the recueil firmly to the 1796-1815 Bonaparte-court and Directoire-society ballroom culture. ROSETTA STONE CONTEXT: the shared call-vocabulary across all 30 contredanses establishes the Empire-era Parisian quadrille-call standard, against which subsequent London (Paine 1815-c1817, Wilson 1815-1816, Dun 1818) and American (Saltator 1802, Pratt c.1817) quadrille-translations and -adaptations can be benchmarked. Cohort: LOC-1788-KINGSBURY (American 1788 cotillon) → LOC-1796-AMERICAN-IMPRINT (Scholar's Companion 1796) → LOC-1798-AMERICAN-IMPRINT (Gentleman & Lady's Companion 1798) → LOC-1801-MOREAU-DE-SAINT-MERY → LOC-1802-SALTATOR (Boston-American cotillon-translator) → **LOC-1798c-CLARCHIES (THIS RUN, EARLIEST PARISIAN NAMED-CONTREDANSE-FIGURÉE RECUEIL IN CORPUS)** → LOC-1808-WILSON → LOC-1810-CASSIDY → LOC-1815-WILSON → LOC-c1817-PRATT-FIRSTSET → LOC-1818-DUN. Has_Step_Detail = None (figure-prose only — call-sequences without foot-position, cadence, mouvement, or chorégraphie-plate engraved-step notation; standard Empire-era recueil format reserves step-detail for the dancing-master oral instruction).Year: 1798Family: clarchiesCatalog: local
Dance manual/reference by FRÈRE Père, Marchand de Musique, Rue Vivienne, Paris (and FRÈRE fils, successor proprietor of the same Vivienne premises) — principal commercial music-publisher of the 1796-1815 Parisian fashionable-ballroom contredanse-and-waltz fascicle series. Composer/arranger: Julien Clarchies (1769-1815), French-Saint-Dominguan violinist and ballroom-orchestra leader who supplied dance-music for Directoire and Premier-Empire Parisian society balls. The 15e-30e numbering covers fascicles 15 through 30 of the bi-annual Frère Recueil series, spanning approximately 1798-1810. Source file: DATA/LOC/LOC_Ballroom_Text/179-clarchies-15e-30e_recueil_des_contre-danses_et_walzes.txt (LOC OCR, 854 lines, ~25 KB). FORMAT: alphabetically-titled named contredanses-figurées (LA + female-name or place-name, in classic Empire-era recueil convention) with French-language figure-prose listing the standard Parisian quadrille calls (Chaîne Anglaise / Balancez à vos Dames / Tour de mains / Demie queue du chat / Demie chaîne Anglaise / Chassez-déchassez / En avant deux / Traversez / Le grand rond / Figurez à droite / Changez de Dames / Reprenez vos Dames / Contre-partie pour les quatre autres etc.), interleaved with WALTZER (waltz) and ANGLAISE (English country dance) musical numbers. Each named contredanse uses the standard 5-figure quadrille architecture (Pantalon / Été / Poule / Pastourelle / Finale, with occasional Polonaise substitution). HISTORIC SIGNIFICANCE: fills the DIRECTOIRE-EMPIRE PARISIAN NAMED-CONTREDANSE-FIGURÉE genre gap in the LOD corpus between LOC-1788-KINGSBURY (American 1788 cotillon-collection) and LOC-1818-DUN (London 1818 fashionable-quadrilles transl.). Establishes the standard Empire-era Parisian quadrille-call vocabulary (Chaîne Anglaise / Demie queue du chat / Tour de mains / Balancez / Chassez-déchassez / Traversez / Contre-partie) 20-25 years before the London Quadrille codification of 1815-1820 (Paine, Wilson, Dun). The LA+female-name naming convention (LA HORTENSE for Hortense de Beauharnais, stepdaughter of Napoleon and Queen-Consort of Holland 1806-1810; LA JOSEPHINE for Empress Joséphine; LA VICTOIRE for the Napoleonic military victories; LA BIANCA / LA JENNY / LA AMABLE for the leading Parisian society women) ties the recueil firmly to the 1796-1815 Bonaparte-court and Directoire-society ballroom culture. ROSETTA STONE CONTEXT: the shared call-vocabulary across all 30 contredanses establishes the Empire-era Parisian quadrille-call standard, against which subsequent London (Paine 1815-c1817, Wilson 1815-1816, Dun 1818) and American (Saltator 1802, Pratt c.1817) quadrille-translations and -adaptations can be benchmarked. Cohort: LOC-1788-KINGSBURY (American 1788 cotillon) → LOC-1796-AMERICAN-IMPRINT (Scholar's Companion 1796) → LOC-1798-AMERICAN-IMPRINT (Gentleman & Lady's Companion 1798) → LOC-1801-MOREAU-DE-SAINT-MERY → LOC-1802-SALTATOR (Boston-American cotillon-translator) → **LOC-1798c-CLARCHIES (THIS RUN, EARLIEST PARISIAN NAMED-CONTREDANSE-FIGURÉE RECUEIL IN CORPUS)** → LOC-1808-WILSON → LOC-1810-CASSIDY → LOC-1815-WILSON → LOC-c1817-PRATT-FIRSTSET → LOC-1818-DUN. Has_Step_Detail = None (figure-prose only — call-sequences without foot-position, cadence, mouvement, or chorégraphie-plate engraved-step notation; standard Empire-era recueil format reserves step-detail for the dancing-master oral instruction).. Imported from local collection.