gavotte

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gavotte

(gəvŏt`), originally a peasant dance of the Gavots in upper Dauphiné, France. A type of circle dance characterized by lively, skipping steps, it was introduced at the court of Louis XIV and was used by Lully in his ballets and operas and by François Couperin and J. S. Bach in their keyboard suites.

Gavotte

 

an old French dance of popular origin. It is in 4/4 or 2/2 time, the tempo is moderate, and it characteristically begins with an upbeat of two quarters or one half and has a clear rhythm. The music of the gavotte is light and elegant, sometimes with pastoral and sometimes with solemn nuances. The gavotte has been known since the 16th century. In the 17th century it became a court dance, graceful and often mincing. In time the gavotte was introduced into ballet and opera (J. B. Lully, J. P. Rameau) and became a component part of instrumental suites (J. S. Bach, G. F. Handel, and others). In Russian music, P. I. Tchaikovsky and A. K. Glazunov created highly artistic forms of the gavotte, and in the 20th century S. S. Prokofiev used gavotte forms (his Classical Symphony and other works).

gavotte

, gavot
1. an old formal dance in quadruple time
2. a piece of music composed for or in the rhythm of this dance
References in periodicals archive ?
Brahms Beyond Mastery: His Sarabande and Gavotte, and its Recompositions.
The composer not only refashioned the notes of his neo-baroque dances, but also introduced a number of baroque compositional techniques not specifically present in the Gavotte and Sarabande--a procedure Pascall colorfully dubs "drag-ins" (p.
In the second movement of the String Quintet, Brahms fashioned a rondo-like hybrid structure that employs both Gavotte and Sarabande in the manner of a baroque dance suite--all in a movement that combines the generic identities of slow movement and scherzo.
Amor's Gavottes was a fun-filled gallop through Mozart; Early Departures was a stunning AIDS piece.
An extensive use of expressive double stops marks the elegant and ornamentally understated Largo third movement, while the final Tempo Gavotta invokes the spirit of Corelli's gavottes and features an independent line for the melodic bass instrument.
In Amor's Gavottes, to Mozart's Les petits riens, I kept expecting some point of view to emerge from the pallid dancing, politesse, and perfunctory duest (extend the hand, move the woman's leg).
Further, Teck claims that bourees and gavottes were "stately dances" (p.