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Tarantella (Italian pronunciation: [taranˈtɛlla]) is a group of various folk dances characterized by a fast upbeat tempo, usually in 6
8 time (sometimes 12
8 or 4
4), accompanied by tambourines. It is among the most recognized forms of traditional southern Italian music. The specific dance-name varies with every region, for instance tammurriata in Campania, pizzica in the Salento region, Sonu a ballu in Calabria. Tarantella is popular in Southern Italy and Argentina. The term may appear as tarantello in a linguistically masculine construction.
In the Italian province of Taranto, Apulia, the bite of a locally common type of wolf spider, named "tarantula" after the region, was popularly believed to be highly venomous and to lead to a hysterical condition known as tarantism. This became known as the Tarantella. R. Lowe Thompson proposed that the dance is a survival from a "Dianic or Dionysiac cult", driven underground. John Compton later proposed that the Roman Senate had suppressed these ancient Bacchanalian rites. In 186 BC the tarantella went underground, reappearing under the guise of emergency therapy for bite victims.
Courtship vs tarantism dances
The stately courtship tarantella danced by a couple or couples, short in duration, is graceful and elegant and features characteristic music. On the other hand, the supposedly curative or symptomatic tarantella was danced solo by a victim of a Lycosa tarantula spider bite (not to be confused with what is commonly known as a tarantula today); it was agitated in character, lasted for hours or even up to days, and featured characteristic music. However, other forms of the dance were and still are couple dances usually either mimicking courtship or a sword fight. The confusion appears to arrive from the fact that the spiders, the condition, its sufferers ('tarantolati'), and the dances all have similar names to the city of Taranto.
The dance originated in the Apulia region, and spread throughout the Kingdom of the Two Sicilies. The Neapolitan tarantella is a courtship dance performed by couples whose "rhythms, melodies, gestures, and accompanying songs are quite distinct" featuring faster more cheerful music. Its origins may further lie in "a fifteenth-century fusion between the Spanish Fandango and the Moresque 'ballo di sfessartia'." The "magico-religious" tarantella is a solo dance performed supposedly to cure through perspiration the delirium and contortions attributed to the bite of a spider at harvest (summer) time. The dance was later applied as a supposed cure for the behavior of neurotic women ('Carnevaletto delle donne').
The tarantella is a dance in which the dancer and the drum player constantly try to upstage each other by playing faster or dancing longer than the other, subsequently tiring one person out first.
Tarantism, as a ritual, has roots in the ancient Greek myths. Reportedly, victims who had collapsed or were convulsing would begin to dance with appropriate music and be revived as if a tarantula had bitten them. The music used to treat dancing mania appears to be similar to that used in the case of tarantism though little is known about either. Justus Hecker (1795–1850), describes in his work Epidemics of the Middle Ages:
A convulsion infuriated the human frame [...]. Entire communities of people would join hands, dance, leap, scream, and shake for hours [...]. Music appeared to be the only means of combating the strange epidemic [...] lively, shrill tunes, played on trumpets and fifes, excited the dancers; soft, calm harmonies, graduated from fast to slow, high to low, prove efficacious for the cure.
The music used against spider bites featured drums and clarinets, was matched to the pace of the victim, and is only weakly connected to its later depiction in the tarantellas of Chopin, Liszt, Rossini, and Heller.
While most serious proponents speculated as to the direct physical benefits of the dancing rather than the power of the music a mid-18th century medical textbook gets the prevailing story backwards describing that tarantulas will be compelled to dance by violin music. It was thought that the Lycosa tarantula wolf spider had lent the name "tarantula" to an unrelated family of spiders, having been the species associated with Taranto, but since L. tarantula is not inherently deadly, the highly venomous Mediterranean black widow, Latrodectus tredecimguttatus, may have been the species originally associated with Taranto's manual grain harvest.
The Balanchine ballet Tarantella is set to the Grande Tarantelle for Piano and Orchestra, Op. 67 (ca. 1866) by Louis Moreau Gottschalk, reconstructed and orchestrated by Hershy Kay. The profusion of steps and the quick changes of direction that this brief but explosive pas de deux requires typify the ways in which Balanchine expanded the traditional vocabulary of classical dance.
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- Mily Balakirev has a "Tarantella in B major".
- Agustín Barrios wrote a "Tarantella for guitar (Recuerdos de Nápoles)".
- Ludwig van Beethoven's "Kreutzer" Violin Sonata, third movement, is a tarantella.
- Benjamin Britten wrote a tarantella as the third and final movement of his Sinfonietta, Op. 1.
- Mario Castelnuovo-Tedesco wrote a tarantella for solo guitar, Op. 87b.
- Frédéric Chopin wrote a Tarantelle in A-flat, Op. 43 with the characteristic 6
8 time signature. It was inspired specifically by Rossini's's song "La Danza".
- John Corigliano wrote a tarantella as the fourth movement of his Gazebo Dances, which he later used as the basis of the second movement of his Symphony No. 1.
- Claude Debussy wrote a piece called "Danse (Tarantelle styrienne)."
- Leopold Godowsky transcribed Chopin's Étude Op. 10, No. 5 "Black Key" into a tarantella for the piano.
- Oleg Karavaychuk wrote a tarantella.[which?]
- Helmut Lachenmann's twelfth movement of Tanzsuite mit Deutschlandlied (1979–80) is a tarantelle.
- Franz Liszt composed a piece called "Tarantella, Venezia e Napoli" (No. 3 from Années de pèlerinage, 2nd Year: Italy), which is in a rapid tempo in 6
4 time. Liszt also made solo piano transcriptions and expansive reworkings of tarantellas by several composers including Gioacchino Rossini, Daniel Auber, Alexander Dargomizhsky and César Cui.
- Felix Mendelssohn wrote a piece called "Tarantella" in 1845 (Op. 102, No. 3). Also, the final movement of his Symphony No. 4 "Italian" is in the form of a tarantella.
- Santiago de Murcia, a baroque Spanish composer and guitarist, wrote a tarantella for guitar.[which?]
- Albert Pieczonka, a pianist and composer who performed in Prussia, England, and the United States wrote a popular piano composition titled "Tarantella in A minor".
- David Popper wrote a piece called "Tarantella, Op. 33", written in 6
- The fourth of Sergei Prokofiev's twelve easy pieces for piano—Musique d'Enfants, Op. 65—is a tarantella.
- Sergei Rachmaninoff's Suite No. 2 for Two Pianos, Op. 17, features a tarantella for its finale.
- Gioachino Rossini's song "La Danza" is a Neapolitan tarantella.
- Camille Saint-Saëns composed "Tarantella, Op. 6 in A minor for flute, clarinet and orchestra, or for flute, clarinet and piano". He also transcribed this piece for two pianos.
- Gaspar Sanz wrote a tarantella.[which?]
- Pablo de Sarasate composed an Introduction and Tarantella for violin.
- Franz Schubert's Death and the Maiden Quartet uses a tarantella in the frenetic fourth movement.
- Franz Schubert's Piano Sonata in C minor, last movement, is a tarantella/rondo.
- The fourth movement of Schubert's Symphony No. 3 is also a tarantella, but following the sonata form.
- John Serry Sr. composed his Tarantella for solo stradella accordion in 1942 and revised it in 1955.
- Allan Small wrote "Tarantella in A minor for piano".
- William Henry Squire wrote "Tarantella for cello in D minor".
- The fifth movement of Igor Stravinsky's Suite italienne is a tarantella.
- Karol Szymanowski wrote a Nocturne and Tarantella for violin and piano.
- Pyotr Ilyich Tchaikovsky's Capriccio Italien ends in a frenzied variation of a tarantella. Also, one of his Pas de Deux in The Nutcracker features a tarantella.
- Ferdinand Thieriot included a tarantella in his Symphonietta op. 55 E major (1873/1892), conducted by Arthur Nikisch and the Boston Symphony Orchestra in February 1893.
- Mark-Anthony Turnage composed a violin concerto entitled Mambo, Blues and Tarantella in 2007.
- Henryk Wieniawski composed a well-known violin piece called Scherzo-Tarantella, Op. 16.
- Tarantella for Piano and Orchestra was composed by American composer Michael Glenn Williams for pianist Sean Chen.
- The last movement of Malcolm Williamson's Sinfonietta (1965) is a tarantella.
- The popular wedding tarantella C'è la luna mezzo mare has appeared in feature films such as The Godfather (1972).
- In The Godfather Part II (1974), Frankie Pentangeli tries to get the band playing at Michael's son's 1st communion party (whose members are not Italian) to play a tarantella; following some quick coaching, the band instead ends up playing "Pop Goes the Weasel".
- The tarantella dance is referenced in the film Harry Potter and the Chamber of Secrets (2002), where it is the result of a magical curse.
- A tarantella is included in the soundtrack to Inglourious Basterds (2009) by Quentin Tarantino
- Extensive use of tarantellas is made in the French film Tous les soleils (2011)
- It has appeared in the musical version of Peter Pan (1954 on stage) with Mary Martin, and is danced by Captain Hook and his band of pirates, illustrating the above-mentioned occasional association with sword fights vis à vis the metaphor of pirates. In this performance, which is available on film, television, and DVD, the context is silly fun.
- The Fairy Godmother's song "Bibbidi-Bobbidi-Boo" from Disney's Cinderella is a tarantella in rhythm and tempo.
- It appears in The Legend of 1900 when Italian immigrants request 1900 to play tarantella music.
- A tarantella is part of the soundtrack for game Assassin's Creed II (2009)
- The "Puppy Love" level of Earthworm Jim 2 uses both Tarantella Napoletana and Funiculì, Funiculà as music.
- The song "Watch Me Dance!" in Shovel Knight is a tarantella. When asked about the composition, the in-game bard recalls, "You should write a tarantella!" Last time I take the advice of a painter."
- Hilaire Belloc's poem "Tarantella" (1929) mimics in words the progress of the dance, culminating in the stillness of death. Online versions of the poem vary: a reliable printed version can be found in The Oxford Book of Modern Verse.
- In Henrik Ibsen's play A Doll's House, a performance of the tarantella is central to the plot
- Edgar Allan Poe's short story "The Gold-Bug" (1843) features the introductory lines, "What ho! What ho! This fellow is dancing mad. He has been bitten by the tarantella", which Poe ascribes to a 1761 play by Arthur Murphy, although the lines do not appear in the play.
- Tim Powers' novel Medusa's Web (2015) uses the 18/8 version of the tarantella and its effect on (supernatural) spiders as a major plot device.
- In Susan Sontag's novel The Volcano Lover: A Romance (1992), Lady Emma Hamilton shocks her company by dancing a tarantella.
- In Axis Powers Hetalia, Southern Italy/Romano cures his disease by dancing the tarantella with Spain; one of the songs sung by him, "The Delicious Tomato Song", is a tarantella.
- Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28. ISBN 0-415-97440-2.
- Morehead, P.D., Bloomsbury Dictionary of Music, London, Bloomsbury, 1992
- Linnaeus named the spider Lycosa tarantula in 1758.
- "POISONOUS SPIDER BITES". The Queenslander. 8 September 1923. p. 2. Retrieved 1 September 2013 – via National Library of Australia.
- R.Lowe Thompson. The History of the Devil. Paul, Trench, Tubner and Co. (1929), p.164.
- John Compton. The Life of the Spider. Mentor Books (1954), p. 56f.
- Toschi, Paolo (1950). Proceedings of the Congress Held in Venice September 7th to 11th, 1949: "A Question about the Tarantella", Journal of the International Folk Music Council, Vol. 2. (1950), p. 19. Translated by N. F.
- Ettlinger, Ellen (1965). Review of "La Tarantella Napoletana" by Renato Penna (Rivista di Etnografia), Man, Vol. 65. (Sep. – Oct., 1965), p. 176.
- Hecker, Justus. Quoted in Sear, H. G. (1939).
- Sear, H. G. (1939). "Music and Medicine", p.45, Music & Letters, Vol. 20, No. 1. (Jan., 1939), pp. 43–54. Note that Sear may mistake the Neapolitan and Apulian tarantellas and that those by Romantic composers to which he refers may have been intended as Neapolitan.
- Rishton, Timothy J. (1984). "Plagiarism, Fiddles and Tarantulas", The Musical Times, Vol. 125, No. 1696. (Jun., 1984), pp. 325–327.
- Serry Sr., John (Composer) (18 March 1946). Tarantella for solo stradella accordion (1942). Library of Congress – Copyright Office.
- Serry, Sr., John Serry Sr. (23 March 1976). Tarantella for solo stradella accordion (Revised 1955). New York: Viccas Music Co.CS1 maint: Multiple names: authors list (link) ID # EP7269 & # RS48482.
- "The Gold=Bug". eapoe.org.
- Inserra, Incoronata. 2017. Global Tarantella: Reinventing Southern Italian Folk Music and Dances. Urbana-Champaign: University of Illinois Press. 226 pages. ISBN 978-0-252-08283-2
- Legend of the Tarantella
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- YouTube Video: Draga Matkovic, oldest practicing classical pianist of the world, plays her own Tarantella composition from 1927 on her 102nd birthday, November 4, 2009.
- Tarantella's history