The minuet is the dance of kings. This is how he was described in past centuries and nothing has changed these days. IN modern world the existence of such a dance is known only true connoisseurs art, but from the general public, alas, he irretrievably left. Minuet is a dance that consists of slow movements, small steps, beautiful pas and curtsies. And in order to plunge into the past and find out exactly how our ancestors rested at the balls, we will study the history and all the features of the minuet in more detail.
The origin of the genre
The native places of the minuet are considered to be the historical region. There it existed along with others, which, however, were also performed in aristocratic circles. Its essence then consisted only in the fact that the couples moved gracefully, performing alternately small steps. Of course, such an action was always accompanied by appropriate slow music. Even at that time, the still popular French minuet was already performed with a certain size - ¾. Many composers wrote works especially for this dance or simply improvised at gala receptions and balls.
The formation of dance among the broad masses of the people
At the beginning of the 17th century about this amazing phenomenon folk art learned Louis XIV. It was he who officially proclaimed to the whole country that the minuet is a dance. This was news that instantly spread throughout all the cities, and at every aristocratic court, persons close to the king, counts, barons and other owners began to perform the minuet. high titles. Considering the fact that in the 17-18 centuries there was a fashion for everything French throughout Europe and even in Russia, this new genre quickly won a leading position in all noble courts.
The minuet was in favor, that is, in St. Petersburg and Moscow, it was performed in Poland, in Great Britain. The popularity of the dance did not subside until the middle of the 19th century, when slower steps were replaced by more energetic rhythms and sharp movements.
The historical image of the dance
At the dawn of its existence, the minuet consisted of extremely simple, but very graceful movements. The performers performed curtsies, drawn-out pas; they moved around the hall, now approaching each other, then moving away. Thus, the impression was created that the minuet was not a dance, but only an invitation, very gallant, flirtatious and polite. It was noteworthy that it was always performed by only one couple. That is, the guests took turns dancing the minuet - first the most distinguished persons, then all the rest.
After the dance became widespread in France and beyond its borders, its movements became more complicated. It was important to perform steps to the side and forward with maximum accuracy, thus lining up the figures. Another important metamorphosis also took place. Since the 17th century, the minuet is a dance that is performed by all guests at once. The kings marched first, followed by the dauphins with their companions, and then the rest of the titled guests. All performers during the dance lined up in certain figures. Most often these were the letters "Z" or "S".
Baroque era
During this period, the minuet undergoes significant transformations. Its pace accelerates, the rhythm becomes more mobile and non-standard. If earlier the dance was performed strictly in ¾, now a variation has been added to this size - 6/8. The minuet is a dance that is performed simultaneously for the most part guests. At the same time, all their movements should be filled not only with coquetry, but also with affectation, cunning, charisma. In order to emphasize this "frivolous" nature of the dance, people changed partners. It is also important to highlight that during the years of popularity, the first classical musical accompaniments for this dance. They were divided into three parts and a code. The first part was two-voice, the second - three-voice, in the third part the motifs from the first were repeated. The coda was small and always performed in major.
Features of studying dance
It is amazing, but for all the seeming simplicity of the minuet's performance, it was previously studied for years. Children from an early age were taught to move correctly, developed their plasticity, grace. Each transition, each step was rehearsed with maximum precision, because any movement in such a dance had to be easy, as if improvisation, and at the same time clear, confident, coinciding with all the others. In fairness, it should be noted that the minuet is a dance that is difficult primarily for men. They had to take off their hat, then, as if in one movement, lure the lady to the dance, then, without interrupting the same "breathing", put it back on their heads.
How the world classics wrote
A minuet in music is not just an accompaniment for a dance that has a certain rhythm and tempo. This separate genre, which exists alongside the sonata or prelude. It originally existed as separate form and performed on the harpsichord or clavichord. It later became a mandatory part of the instrumental suite. When opera became popular, the minuet became part of the overture. In the 18th century, entire suites began to be composed of minuets. The first number was necessarily written in major, followed by a dance in minor.
Often this dance was alternated with others, where the modes also varied. Among the composers who wrote music in this genre, it is worth mentioning J. S. Bach. Handel, J.-B. Lully and other composers of the Rococo era. Later, the creators of the era of romanticism took up writing minuets. These were Beethoven (in his notes he calls the minuet "scherzo"), Gluck, Mozart, Satie, Debussy. The described genre is also found in the work of Russian composers: Tchaikovsky, Glinka, Rubinstein, etc.
This term was borrowed from French"menuet", which means "ballroom dance". The minuet is filled with graceful poses, small steps, curtsies and bows. It got its name because of the small movements - "pa".
In the distant Middle Ages, it was considered popular. It was distinguished by enthusiasm and spontaneity and had a completely different name " Branle de Poitou a Mener".
Already in 17
In the century, noble gentlemen and ladies fell in love with it and changed its name. Now it bore the name "Amener" from the word "a mener", which means "lead" in French.
Such a change of name killed two birds with one stone, firstly, the primacy of the first couple was emphasized, since the king was always the first, and secondly, the ignoble origin of this dance was hidden.
A little later, this name was also abandoned. Since there were many small "pas" in this dance, instead of "Amene" they began to pronounce "Minuet" - "Pas Menu", which meant " small step
".
The most popular dance "Minuet" becomes in the time of Louis 14
.It was during his reign that the rules of ballroom ceremonies were rewritten.
Indeed, in that barbaric time, touching a lady in a dance was considered the height of indecency.
In the Minuet, the gentleman touches his lady's fingertips and this is considered the norm.
Over time this light dance spread throughout Europe. Moreover, in order to make the movements of the dancers much more elegant, the Royal Academy in France began to improve it. Already in 18 In the century, the dance changed so much and became much more complicated that not all gentlemen could lead their lady correctly. The movements became more cutesy, pretentious and faster. He was very popular among the French nobility. Minuet - the king of dances and the dance of kings".
The popular and beloved dance "Minuet" rested in Bose when the great and terrible French Revolution came. Dance lovers either fled abroad or parted with their heads in the literal sense.
It even became dangerous to dance the Minuet, for this they could be reported and sent to jail.
This dance received its second birth in ballet.
Many great composers paid tribute to this dance - Glazunov, Debussy, Glinka, Rubinstein, Tchaikovsky, Gluck, Mozart, Beethoven, Handel, Bach.
Someone introduced an instrumental suite, someone inserted elements of dance melody into their ballets, and someone into an opera overture.
For the first time, who used the "Minuet" in his work was great composer Joseph Haydn.
Guy de Maupassant did not leave such a popular dance in the past.
An excerpt from the story:
"Explain to me, old dancer, what is a Minuet?
He revived.
The minuet, sir, is the dance of kings and the king of dances.
However, ever since there were no kings, the Minuet has also disappeared.
What did the nobles dance at the balls?
- One of the most popular dances was Polonaise.The most popular was under Catherine 2. Everyone danced without exception. Under Polonaise, ladies meet gentlemen.
- Waltz occupied the second most popular place. In Russia, it became fashionable only in the 19th century.
- Mazurka danced in the middle of the ball. In Russia, they learned about it in 1810. They dance the mazurka in four pairs. During this dance, you could talk.
- Cotillion became famous in Russia in the 19th century. This is such an unusual dance game.
- Gavotte appeared in the 16th century. Already in the 17th century it began to be performed at the court. Unnecessarily cutesy and graceful.
- Quadrille appeared at the end of the 18th century. However, at the end of the 19th century it lost its significance.
- Polka very fashionable french dance.The famous dancer N. Goltz brought her to Russia.
9. Dances of the 18th century
This and the next chapter will deal with some of the dances that are often found in classical music. Each of these dances has its own character traits and we will learn to recognize them. After all, they can be heard not only in dances. Composers often use the nature of a particular dance to create musical images in compositions that are not related to dance at all. Sometimes composers even call such pieces "dance" names. For example, the great Polish composer Fryderyk Chopin wrote 58 mazurkas. But it's not dancing. These are observations, experiences of the composer, "pages" of his "lyrical diary". main topic Part I Fourth Symphony Tchaikovsky sounds very dramatic, tense, it conveys very strong and disturbing feelings. And at the same time, features are heard in it waltz. In the very late XIX century Edvard Grieg writes a play called Minuet. This dance, long forgotten, is used here to convey the feeling of remembering something very far away. This play also has a subtitle: "Past Days."
It turns out that dances have become elements musical language. And in order to better understand everything that music tells us, we must get to know some dances better and learn to distinguish between them.
Minuet
Minuet tripartite dance moderate pace. This is the dance French origin. The fashion for the minuet arose in the 17th century and existed for a very long time until early XIX century. IN early XVIII century, the minuet also appeared in Russia, at the court of Peter I. The court minuet was a very complex, intricate dance. In the 18th century, it was even considered a "school of good manners."
The music of the minuet is characterized by an elegant melodic pattern that reflects the plasticity of the dance: bows, smooth squats.
Example 101
J.S. Bach. MINUET from French Suite in E major
Notice how at the end of each of the little two-bar phrases the music "pauses" to "bow" or "sit down".
Mozart wrote a lot of minuets. By the way, he danced this complex dance well. He wrote his first minuets at the age of eight, at the same time he learned to dance this dance. Already in the first children's minuets of Mozart one can feel the extraordinary plasticity with which he conveyed dance movements in music.
Example 102
allegretto
Example 103
 Joseph Haydn |
And another great Austrian composer of the 18th century, Haydn, also has quite a few minuets. When at the very beginning we talked about melodies and climaxes, the very first example was the melody of one of Haydn's minuets (you can take a look). Now we will get acquainted with this minuet in its textured and harmonic "clothes". This is a minuet-joke (Haydn was generally very fond of joking, and not only in music). Already familiar to us "curls" melodies reminiscent of high society powdered wigs. And at the same time in heavy chords accompaniment the trampling of peasant wooden shoes is heard. Under this music, one can imagine how the servants, amused, mimic their masters.
Example 104
Moderato
And another joke that Haydn called the Minuet of the bull.
Example 105
Grave [Hard]
Heavy octaves in the melody, funny jumps from register to register create a witty portrait of a clumsy bull trying to dance a minuet.
In the 18th century, the minuet became widespread not only as a dance, but also as an instrumental piece. IN symphonies Haydn and Mozart, one of the movements (the third) is always written in the form and character of a minuet. Minuets are often found in the sonatas of these composers.
Gavotte
Like the minuet gavotte comes from France. This is the dance of the even ( two- or quadruple) size, moderate or moderately fast pace. It did not exist as long as the minuet as a ballroom dance, but remained in music as one of the favorite instrumental pieces.
The gavotte is characterized by a wide double beat. The music is distinguished by grace and clarity of rhythm. By the nature of the gavotte, it can be gentle, lyrical, like the Gavotte in D minor French composer 17th century Jean Baptiste Lully, or it can be elegantly playful, like the Gavotte from J.S. Bach's French suite in E major.
Example 106
J. B. Lully. Gavotte in D minor
Moderato
Example 107
J.S. Bach. Gavotte in E major
allegretto
In the 19th century, gavottes occasionally appear in ballets, mainly as a pastiche of early music.
And in the 20th century, this genre was revived in Prokofiev's work. Prokofiev's gavottes sound bold, unusual, and at the same time they accurately maintain the form and character of this dance.
The most famous gavotte from Prokofiev's First (Classical) Symphony.
Example 108
Non troppo allegro
Despite the traditional structure of the old dance with its characteristic beat, one can hear that this is not a stylization of a bygone era, but the music of the twentieth century. First, such outlandish humorous leaps could not have appeared in melodies court dance of the 18th century. True, we saw something similar in Haydn's Minuet of the Bull. And this relationship is not accidental. Prokofiev said of his First Symphony that he wrote it "as Haydn would write if he lived in our time." This “our time” manifests itself most clearly in harmony Prokofiev's gavotte. Listen to what kind of chords sound right after the upbeat: D major, C major, B major. Such a string of different (and at the same time distant) keys could not be found in Haydn, for all his ingenuity. Such tonal "mischief", far from the "rules good manners» a sign of the music of the twentieth century. The composer does not copy the old era, but looks at it with a kind and mischievous smile.
Burre
Another French a dance that is often found in suites of the 18th century burre. Its name can be translated from French as "dance of unexpected jumps." Like the gavotte, this two- or quadruple dance. It differs slightly from the gavotte more moving pace And pick-up type. Zatakt at the burre is always in one quarter.
In Bourre from the English Suite in A minor, Bach emphasizes smooth, but swift, non-stop movement. The part of the second voice is monotonous and similar to accompaniment V homophonic-harmonic stock.
Example 109
This may seem unusual for Bach, who wrote polyphonic music. But if we listen closely, we will find that the left-hand part is not just an accompaniment. Hidden in this running voice is another melody. Her intonation bend is heard against the background of repeated notes. This technique is often found in Bach and is called hidden polyphony.
Here is the tune:
Example 109a
The sons of Bach also became famous composers. They began to compose in childhood, under the guidance of their father. And of course, Bach taught his sons all the "tricks" of polyphony. And this is not an easy science. Wilhelm Friedemann Bach, the eldest son of the great composer, already in early youth mastered polyphonic techniques freely and naturally. Hear how natural and simple it sounds canon in his youthful B minor bourre.
Example 110
Sarabande
We have already spoken of this dance in connection with earlier suites. In the 18th century, the sarabande almost disappeared as a dance, but acquired great importance How piece of music like a musical image.
You and I know that dance music is associated with movement, and therefore a clear rhythm is more important for it than the depth of inner feelings. But we also know that the dance suite of the 18th century went beyond dance music. J.S. Bach, G.F. Handel and their lesser-known contemporaries wrote such suites no longer for dancing, but for concert performance or home music making. They strove to put into their suites a deeper, more serious musical content. And the slow, melancholy sarabande was most suitable for creating a little musical drama. Surrounded by cheerful dances, it often became the culmination of the entire suite, giving the whole work a special expressiveness and depth.
The sarabande in the suites of the 18th century bears little resemblance to a dance at all. A very slow pace, an abundance of decorations "cloud" the clarity of the rhythmic pattern, expressiveness comes first intonations. Music makes you listen carefully to these intonations, the main thing is not movement, but musical experience.
Example 111
J.S. Bach. SARABANDE from French Suite in B minor
Example 112
J.S. Bach. SARABANDE from the English Suite in G minor
Sometimes composers did not “dissolve”, but, on the contrary, emphasized the characteristic rhythmic pattern of the sarabande. In a slow tempo, in a chordal warehouse, this also makes a dramatic impression.
Example 113
G.F. Handel. SARABANDE WITH VARIATIONS
Recall that once in Spain the sarabande sounded at funeral ceremonies. Rhythm sarabande became the bearer of dramatic and tragic images and in later music of the 19th and 20th centuries. In this rhythm sounds the tragic introduction to Beethoven's overture "Egmont" (1810).
Example 114
Sostenuto [Restrained]
A rhythm close to the sarabande appears in tragic ending Sixth symphony Tchaikovsky (1893) .
Example 115
Adagio lamentoso [Slowly, sadly]
In the final Fifteenth Symphony Shostakovich (1971) there is a big mournful episode that takes place against the backdrop of the rhythm of the sarabande, hidden deep in the bass.
Example 116
Polonaise
Polonaise tripartite dance Polish origin. It has been known since the 16th century as a warlike dance of Polish knights (“great walking dance”, as it was then called). Those distant times it was in four beats, like a solemn march. It was a male dance. Later it becomes a double, tripartite. As a European ballroom dance, it has been known since the 18th century. Polonaise was a solemn, ceremonial dance-procession. IN XVIII-XIX centuries balls often opened with a polonaise.
Polonaise music is characterized by a special rhythmic figure: an eighth and two sixteenths on the first beat.
Often this figure appears in a melody and almost always makes up texture formula accompaniment.
This rhythmic figure is also often found in marches. As for the march, the polonaise is characterized by dotted rhythm. In the second act of the opera Ivan Susanin (A Life for the Tsar), Glinka depicts a ball in the palace of the militant Polish king Sigismund. The ball opens with a polonaise, in which the composer uses both characteristic rhythmic figures. With these figures and the fanfare intonation of the introduction, he emphasizes the similarity of the polonaise with the march.
Example 117
Moderato
Since the 18th century, the polonaise has existed not only as a dance, but also as an instrumental piece. Harpsichord polonaises are found in Bach and Handel, as well as in the sons of J. S. Bach Wilhelm Friedemann and Philip Emmanuel. J.S. Bach included the polonaise in Sixth French Suite.
Example 118
J.S. Bach. POLONAISIS from the French Suite in E major
Example 119
F.E. Bach. POLONAISE
In 1791 in Petersburg at the festivities in honor of the capture A. V. Suvorov Turkish fortress Ishmael polonaise sounded for the first time Osip Antonovich Kozlovsky"Thunder of victory, resound." Kozlovsky, officer of the Russian army, Pole by nationality, author 50 polonaises. Polonaise "Thunder of victory, resound" was performed orchestra And chorus, the words for the choir were written by a wonderful Russian poet Gavriil Romanovich Derzhavin .
Example 120
Maestoso [Solemnly]
The choir part, of course, is written on a separate line (or even on several), but in this example it is “stuck” into the middle voice. And the small notes at the top are elegant orchestral decorations that give the music splendor and brilliance. They are played by high instruments - flutes and violins.
Note: in sound example given an orchestral version.
Among Kozlovsky's polonaises there are not only solemn, ceremonial, but also lyrical, and dramatic works. They save genre features polonaise, but this is no longer dancing, but concert pieces.
In the 19th century, the polonaise increasingly appeared as an instrumental miniature, not intended for dancing. Near 20 "polonaises not for dancing" wrote a Polish diplomat and amateur composer, a student of Kozlovsky, Michal Kleofas Ogiński. His A-minor lyric Polonaise for piano gained worldwide fame.
At first, this is rather not a polonaise, but a "remembrance of a polonaise." In the melodious, expressive sad melody of the first section, there is no dancing clarity of the polonaise, only a characteristic rhythmic figure in the second measure reminds of this genre. In general, this melody is amazing in terms of the breadth of its breath, its unusual melody.
Example 121
Moderato
Features of a solemn, heroic polonaise suddenly appear in the middle section.
Example 122
Chopin's polonaises are considered to be the highest achievements in this genre. His 16 piano polonaises, written from 1817 to 1846, are detailed musical poems-pictures of heroic, dramatic, lyrical content. Chopin's polonaises are inspired by the heroic, dramatic story Poland. In high school, you will get to know more about the work of Chopin, with sad story his life and his homeland. In the meantime, let's listen to these sounds - either victoriously fanfare, as at the beginning of the Polonaise in A major, or taking the soul with their piercing sad melodies, as in the middle section of the Polonaise-fantasy.
so what did you find out?
|
The term "menuet" comes from the French menu pas - a small step. This vintage folk dance originated from the round dance amener, which was popular in the 15th century in the province of Poitou. And the basis of the minuet is made up of small steps, small dance steps, which led to the corresponding name.
History of occurrence
The minuet has glorious history, which fell to the lot of few dances. It is called "the king of dances and the dance of kings". The brilliant Louis XIV, the Sun King, considered this dance worthy of his greatness. The legendary Peter I did not deprive the attention of the minuet at his assemblies. And today in the dance and musical art the form of the minuet has not been forgotten and still brings pleasure to dancers and spectators.
The minuet flourished in the 16th and 17th centuries. Brittany is considered its homeland, where the minuet originated as a folk dance, closely associated with song and musical culture this area, its way of life and traditions. The simplicity of the dance, its elegance and grace contributed to the rapid spread of the minuet throughout France, including in court circles.
Special honor fell to the share of the minuet during the reign of the king Louis XIV. The Sun King loved to enjoy life, spending his time in entertainment, balls and hunting. In 1650, the minuet became the leading dance of the French court. Interestingly, François-Robert Marcel, a member of the French Royal Academy of Dance, resigned from the Paris Opera, especially in order to teach the minuet to persons close to the court.
The fashion for "everything French" led to the rapid spread of the minuet in other countries. Dance entered Russia during the reign of Peter I and took pride of place among ballroom dancing until the 30s of the 19th century.
Now the minuet social dance, has lost its relevance, giving way to other forms and rhythms, but how cultural phenomenon continues to delight with graceful dance figures and musical images.
What is a minuet?
The musical size of the minuet is three-part: 3/4, 6/8. First, the dance was performed by one couple, and then by several. The arrangement of the dancers at court balls was strictly according to ranks: the first persons of the court, the king and queen, began the procession. Behind them came the Dauphin with a noble lady of the court, and behind them the rest of the guests. The tempo of the minuet is unhurried, the movements are important, majestic, built on curtseys and bows, which created the impression not so much of a dance, but rather of an invitation to dance. The minuet included numerous solemn passages forward, backward, sideways, ceremonial greetings. Despite the seeming simplicity of movements, dance training lasted a long time, as it was necessary to thoroughly master the technique of performance. The dancers moved according to a strictly defined pattern in the form of numbers 2, 8 or the letters S and Z.
In the 18th century, with the flourishing of the Baroque style, the minuet acquired the features of mannerism, affectation, pretentiousness. The pace of the dance accelerated, the figures became more complex, story line. The minuet developed to stage dance, began to be actively used in ballet and opera productions.
Minuet Features
The peculiarity of the minuet is in its grace and elegance. The performers had to work on the plasticity of movements, the smoothness of transitions from pose to pose. Particular attention was paid to the softness of the hands: the bends of the hands completed the dance poses, the joining of the partners' hands was carried out smoothly, the elbows should not be raised too high.
The part of the gentleman was especially difficult: it involved manipulations with the hat. The cavalier had to elegantly take off his hat, beautifully shift it from hand to hand, and put it on beautifully again. The magnificent outfits of the dancers suggested slow, solemn movements. The cavalier had to demonstrate in every possible way respect and respect for the lady.
The grace and elegance of the minuet contributed to its longevity. Many dances that appeared simultaneously with him have sunk into oblivion. And the beautiful, majestic minuet has been pleasing to this day for more than one generation of people.
The dance steps of the minuet, perfected over decades, demonstrate the gallantry of gentlemen and the charm of ladies. After all, the minuet is a dance worthy of kings.
The term "minuet" comes from the French menu pas - a small step. This ancient folk dance originated from the round dance Amener, which was popular in the 15th century in the province of Poitou. And the basis of the minuet is made up of small steps, small dance steps, which led to the corresponding name.
History of occurrence
The minuet has a glorious history, such as few dances have. It is called "the king of dances and the dance of kings". The brilliant Louis XIV, the Sun King, considered this dance worthy of his greatness. The legendary Peter I did not deprive the attention of the minuet at his assemblies. And today in the dance and musical art the form of the minuet is not forgotten and, as before, brings pleasure to dancers and spectators.
The minuet flourished in the 16th and 17th centuries. Brittany is considered its homeland, where the minuet originated as a folk dance, closely associated with the song and musical culture of this area, its way of life and traditions. The simplicity of the dance, its elegance and grace contributed to the rapid spread of the minuet throughout France, including in court circles.
Special honor fell to the share of the minuet during the reign of King Louis XIV. The Sun King loved to enjoy life, spending his time in entertainment, balls and hunting. In 1650, the minuet became the leading dance of the French court. Interestingly, François-Robert Marcel, a member of the French Royal Academy of Dance, resigned from the Paris Opera, especially in order to teach the minuet to persons close to the court.
The fashion for "everything French" led to the rapid spread of the minuet in other countries. The dance entered Russia during the reign of Peter I and took pride of place among ballroom dances until the 30s of the 19th century.
Now the minuet, as a social dance, has lost its relevance, giving way to other forms and rhythms, but as a cultural phenomenon, it continues to delight with graceful dance figures and musical images.
What is a minuet?
The musical size of the minuet is three-part: 3/4, 6/8. First, the dance was performed by one couple, and then by several. The arrangement of the dancers at court balls was strictly according to ranks: the first persons of the court, the king and queen, began the procession. Behind them came the Dauphin with a noble lady of the court, and behind them the rest of the guests. The tempo of the minuet is unhurried, the movements are important, majestic, built on curtseys and bows, which created the impression not so much of a dance, but rather of an invitation to dance. The minuet included numerous solemn passages forward, backward, sideways, ceremonial greetings. Despite the seeming simplicity of movements, dance training lasted a long time, as it was necessary to thoroughly master the technique of performance. The dancers moved according to a strictly defined pattern in the form of numbers 2, 8 or the letters S and Z.
In the 18th century, with the flourishing of the Baroque style, the minuet acquired the features of mannerism, affectation, pretentiousness. The pace of the dance accelerated, the figures became more complicated, the storyline began to be seen. The minuet developed into a stage dance, and began to be actively used in ballet and opera productions.
Minuet Features
The peculiarity of the minuet is in its grace and elegance. The performers had to work on the plasticity of movements, the smoothness of transitions from pose to pose. Particular attention was paid to the softness of the hands: the bends of the hands completed the dance poses, the joining of the partners' hands was carried out smoothly, the elbows should not be raised too high.
The part of the gentleman was especially difficult: it involved manipulations with the hat. The cavalier had to elegantly take off his hat, beautifully shift it from hand to hand, and put it on beautifully again. The magnificent outfits of the dancers suggested slow, solemn movements. The cavalier had to demonstrate in every possible way respect and respect for the lady.
The grace and elegance of the minuet contributed to its longevity. Many dances that appeared simultaneously with him have sunk into oblivion. And the beautiful, majestic minuet has been pleasing to this day for more than one generation of people.
