Graziana Presicce Dissertation, The Tarantella as Genre 2012

7/27/2019 Graziana Presicce Dissertation, The Tarantella as Genre 2012

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Department of Drama and Music

Special Study (25052)

Tarantella

being a Dissertation submitted in partial fulfilment of the requirements for the Degree of B.A.

Music

in the University of Hull

by

Graziana Presicce

May 2012

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Acknowledgements

I would like to thank Christopher Wilson, for the support, enthusiasm and encouragement

which provided me with the necessary assistance to complete the following study.

Special thanks to the Music Department of The University of Hull, for the

extremely pleasant study experience, and Irina Glushenkova for letting

me discover the enjoyment of performing Chopins Tarantelle.

An enormous thank you to the special friends in

my life, who gave me the most valuable

support and affection.


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CONTENTS

ABSTRACT............................................................................................................ii

INTRODUCTION..................................................................................................iii

CHAPTER1

1.1 The Tarantella as Genre..................................................................................1

1.2 The Myth of Tarantism...................................................................................3

CHAPTER 2!

2.1 Tarantellas as Art Music in the Concert Hall...................................................9

2.2 Musical Influences: The Tarantella of Salento, Naples and Sicily..................16

CHAPTER 3!

3.1 Chopins Tarentelle, Op.43......29

CONCLUSION..........................................................................................................36

APPENDICES

1. Chronological List of Tarantellas.....................................................................382. Tracks List........................................................................................................40

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BIBLIOGRAPHY......................................................................................................41


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ABSTRACT

The mystical formation of the tarantella roots far back in Early Seventeenth Century Southern

Italy, in the form of an energetic folk dance music of improvisatory nature. Popular beliefs

claimed that only the frenetic dancing induced by this music can be the cure to the expanding

phenomenon of tarantism, the illness caused by the bite of a poisonous spider. Whilst the

genre developed in relation to its popular environment, the Romantic Era eventually led to

the establishment of tarantellas within the Art Music domain too, gaining the attention of

major composers and increasingly incorporating the dance into their own repertoires. Today,

as in the past, there is a constant tendency of regarding the two musical genres as individual

entities and abstaining from any kind of direct comparison. The fact that composed tarantellas

derive from the folk version is often mentioned in literature, but never actually explored.

The following study fills the missing literary gap, providing an investigation towards what

specifically defines a tarantella in both contexts, and to what extent their musical features are

related. The initial historical recount provides deep insight to the true origins of the folk

dance, whereas the analytical examinations offer a more in-depth musical understanding. To

fulfil this aim, a variety of sources are used, including authentic written scores, aural

transcriptions and live recordings of performed tarantellas. Another objective of this paper is

to state a certain distinction between the tarantellas of the Salento, Napoli and Sicily, another

neglected aspect of the subject. With the guidance of some music models built throughout,

the last chapter attempts the localisation of Chopins Tarantelle, Op.43, amongst these three

subcategories.


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INTRODUCTION

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Looking through the incredibly wide variety of genres developed since the Nineteenth

Century, a discreet amount, yet noteworthy works can be identified under the heading of

tarantella. In comparison with other genres, tarantellas only constitute an extremely small

percentage of the Western Art Music repertoire, but this certainly does not lessen their

significance: besides lesser known works, we do also find masterpieces of international

acclamation. Not as equally well known, however, are tarantellas within their folk origins.

These are mainly acquainted only within the local boundaries of their birthplace, Southern

Italy, and wider understanding other than a generalised idea of their content rarely reaches

out of the country.

The following study will embark journey in the discovery of both domains. It will amplify

general knowledge on the subject through historical and analytical research, tackling facets of

tarantellas previously unexplored, as well as undertaking a critical evaluation of the two

contrasting tarantella versions. The initial chapter will help to establish a firm understanding

on the origins of the genre, as well as an appreciation of its role within its socio-cultural

context. An investigation in the relationship between the dance music and the concert hall

will follow, eventually merging the two worlds for a comparison of the two musical styles.

The strong divergences in the two forms (written/aural music, classical instrumentation/folk

arrangements) clearly cause some limitations which obstruct our research. Nevertheless,

available resources will try to be exploited at their full potential.

As the folk dance spread her captivating sonorities throughout Italy, more tarantellas

developed independently in differing locations; a clearer distinction between these sub-genres


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will be attempted. For the purpose of this study, and to enable a more focused investigation,

only Naples, Sicily and the Salento have been selected. The final chapter will be centralised

towards Chopins Tarantelle, Op.43. The piece will be first analysed, then addressed towards

previously discussed features, in search of which Chopins work stands in relation to the

explored tarantella sub-genres.

The fulfilment of the following research will at times require the use of literature of

extremely local productions and never translated; this, will however provide additional

knowledge to the work and, optimistically, create a further point of interest for the reader.

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Chapter One

1.1Tarantella as GenreSince the time of Aristotle, the classification of works generated a major concern for the arts.

1Just as

for poetry and literature, the rapid development of music saw the creation of a wide variety of new

styles, which unavoidably led to the categorization of works, the arrangement of specially assigned

labels, more commonly indicated as genre. In music, the term genre may simply refer to a brief

overview of a generic characteristic: the instrumentation involved, for example, or the historical

period which the work falls into. More precise subcategories could reveal further information, or even

some sort of stylistic criteria: its form, its rhythmic traits or any other significant quality implicated.

The identification of a work within a categorized group certainly enables a quicker and simpler

orientation within a discussion or throughout literature; yet this also symbolically encodes, to its

clearly limited extent, a general outline in regards to the nature of the musical content. The aid of a

systematic arrangement, however, may result either helpful or hazardous. The risk not only lies in the

crude attempt of compressing more complex, subtle forms of music under a sole, straightforward

definition, but it builds a certain degree of expectancy from the listener, with the consequence of some

factors being taken for granted and challenging the nature of the music itself. At this point, is it still

the music defining its heading, or its naming displaying the music in a predetermined view setting? A

genre which would easily function as an emblem of the issues just mentioned is the tarantella.

It is surely a matter easily arguable and open to discussion for any of the other musical forms, in that

such concerns may as well be diagnosed for any possible musical genre. The controversy within the

tarantella, however, lies in its fluctuation between two parallel yet entirely different worlds of the

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music domain: its native folk-popular context, in contrast to the high art of composed music.!Despite

its peasant origins, gradually more and more composers integrated the dance as part of their

repertoire, eventually achieving a significant position within art music and establishing it as a new

genre. Even more interesting is to notice the radical difference in the form of the music itself: the

inheritance of an improvisatory oral music transmission against the formal standard notation implied

in the art high domain. We are therefore presented with two very different styles of music, two social

contexts and two musical forms but under the same name of tarantella.

From a genre perspective, the use of an interchangeable, single term provokes instability and

questions its authenticity. Even the name itself, tarantella, cannot be clearly defined in its meaning:

is it describing a form or a genre? This kind of issue also relate to the unsettled boundaries of the term

sonata. The additional problem with tarantellas, however, is that we are presented with two

completely different sources which lead to the critical issue of an inconsistent nomenclature. A

classification should, after all, be determinate and to represent a conceptual unity. Only then is it

readily classifiable.2

Nevertheless, the fact that one form generated from the other as we will later

explore in their historical accounts gives light to a possible resolution of the matter. Referring back

to the previous argument questioning genre as defining or being defined, it is perhaps possible to state

that both actually play a role, but in two different stages of the musics development. Music obviously

creates a genre; the characteristics found in the music produce a name which allows it to be applied as

such. This is however to be considered within its original context and state. !As soon as we shift these

settings, it is the named genre that aids the listener in recognising the music by somehow anticipating

hints at what to listen for, in order to find a connection, in spite of the strong differences, to the

related, original form of the music. A relatively important issue thus arises: which are the musical

traits that define tarantellas?

We will gradually attempt to provide an answer in the course of the following study and, most of all,

look for a direct connection between the two opposing contexts. Such research process would surely

restrict itself to superficiality if everything was to be confined to a score based musical analysis. A

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thorough understanding of the history of the tarantella and its growth within its original social context

is therefore essential.

1.2 The Myth of Tarantism

Although tarantellas soon gained the popularity, joining the concert halls of the Seventeenth Century

and firmly establishing as a genre in the

following century, the way this music

originated remained somewhat obscure.

Emerging from a combination of ancient

traditions and pagan rituals, tarantellas

derive from a mystical form of epidemic:

tarantism.3

First signs of tarantism made their appearance in Medieval Italy, in the not merely

coincidental city of Taranto. While remnants of the phenomenon remained vividly active

right up to the Mid-Twentieth Century, its roots grounded far back in history; doctor de

Marras Sertum Papale de Venenis, most probably the earliest testimonial source to be found,

dates as far back as 1362.4 Although the derived tarantellas will later expand and develop

independently out of the region, survived

documentations not only refer to the area of

Southern Apulia, Salento (Fig.1.1), as its apparent

birthplace, but also centralise the entire myth in

terms of authenticity and validity. According to the

mythical-cultural recounting, the real tarantism, its

effects, treatment and cure may only be considered

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Fig. 1.3 Allegoric depiction of Apulia in Cesare

RipasIconology: spiders crawling on Lady

Apulias dress (Padova edition, 1611).!

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to be effective if taking place strictly within the extremity that small sub-peninsula.5

What therefore is tarantism? The mystifying, almost dark elements involved make the story

behind more difficult to accept than to understand. Everything spins around the poisonous

bite of a large wolf spider, alias Lycosa Tarantula (Fig. 1.2).6

The effects of the venom

injected in a human body may slightly vary across individuals, but generally causes disorders

in the overall state of the person, but not fatal effects: tremors, fatigue, nausea, even

hysterical crisis, depression or unresponsiveness to the surrounding. So far nothing

exceptionally unusual; most of these symptoms roughly imitate the typical effects of

latrodectism, a syndrome elicited by the

envenomation of certain spiders.7

Eccentricity however arises in the rather

unusual cure of these: through music. At no

time science or medicine were even considered

as a possible remedy; the only heal from

tarantism was obtained by inducing the victim

in a strenuous dance through the frenetic

rhythms of tarantellas, until the expulsion of

the venom. Music was played by a small group instruments, typically involving a violin,

tambourine, guitar (illustrated in an allegoric depiction of Apulia, Fig. 1.3) and accordion.

Musicians were called in commission of a domiciled

therapeutic service; the exorcized ritual took place

under the watchful eyes of relatives, neighbours and

some curious passerby (Fig. 1.4). The preliminary

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phase involves establishing a connection between the tarantata and the music, in what may

best solicit a reaction. Music was expressively composed for the treatment of the disease,8

and sounds were explored through several attempts in search of the right melody and rhythm.

Once succeeded, the dance was prolonged until exhaustion of the victim, a stage which may

take hours, if not days. When the tarantata declares herself healed, the donations collected

throughout the rite were then offered to the church of Saint Paul, protector of the tarantate, in

thanksgiving of the blessing received. Subsistence of the biting spider could also cause

relapses to its victims, in which case the whole process was repeated, sometimes on a yearly

basis.

We have so far mentioned the feminine gender, in that, interestingly, women were

predominantly but not exclusively affected by such bites, particularly during the harvest

in the summer season. Table 1 illustrates an overview to the genders percentages of past and

recent investigations, ensuing De Martinos data gathering.9

Table 1

Feminine participation to tarantism

Year Author Cases Female

1602 Bruni 17 64%

1741 Caputo 22 72%

1908 De Raho 25 96%

1959 De Martino 37 89%

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Unsurprisingly, prodigious cures and anomalous spiders raised strong oppositions from the rational

world of science. The end of the Seventeenth Century already saw a few attempts at debunking the

myth: from anatomical analysis of the spider, to the first scientific verification of the venoms effects

in a human body, where in 1693 Doctor Bernardino Clarizio publicly challenged the myth by

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by the hypnotising sound of a violin or a guitars enchanting tones, once again creating captivating

textures.

Tarantellas also involved singing at times. Just as each Italian city varies in its vernacular language,

different tarantellas also employed different dialects in their lyrics, according to their location. Lyrics

generally orientated their content towards Saint Paul and the tarantula, but not exclusively.

Interestingly, these also often reflected the social issues hiding behind tarantism:

Ci taranta lassala ballare

ci malencunia cacciala fore.

Ahi ahi...

( ... )

E dici ca nu me voi ca nu su bella

ca a lauru amante ni paria na stella.

Lu bene ca te vosi nina mia

nu te lu vose la tua cara mamma.

Na ni na

Ballati tutti quanti ballati forte

ca la taranta viva e nun morta.

If its a Taranta, let it dance

If its melancholy, come out with it.

...

You say you dont want me cos Im not beautiful,

Nevertheless I seem a star to my old lover.

I loved you so much, my Nina,

Maybe more than your mother did.

...

Dance you all,

Cos Taranta is alive and not dead.

Narrations varied in their contexts, at times even involving sexual allusions such as abuses at work,

for example:

Fimmine fimmine ca sciati allu tabaccu

ne sciati doi e ne turnati quattru.

Women, women, you go working in tobaccos

fields

You go two at time and you come back in four.

The following extracts are contemporary transcriptions from some of the widespread tarantella songs

of the Salento actively performed nowadays.14

The lyrics used today however are not only a

development from those of the past ones, but they actually include some of their passages. This may

seem contradictory to the improvisatory nature of tarantellas earlier discussed; yet its explanation

finds justification. By taking a look at contemporary tarantellas, the frequent appearance of certain

sets of phrases, yet enfolded by varying versions of lyrics, leads to the assumption that words were

often shaped around these main couplets, phrases which gained popularity over the years and

established in the core of tarantellas, making their way from generation to generation right up to our

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days many of the titles today assigned to various tarantellas in fact base on those couplets.

Remaining verses were either improvised or adapted according to the circumstances and the

performers interpretation. It would certainly be interesting to investigate the extent of similarities

between ancient and modern versions through a direct comparison, yet this is obviously not possible

due to a lack of written evidence. An example of a 1600s refrain still widely used today can however

be found in Athanasius Kirchers section on Tarantism in his workMagnes.15

Add ti pizzic la tarantella?

sotto la putia de la unnella.

Where did the Taranta pinch you?

Under the hem of the skirt.

Nonetheless, tarantellas remained a flexible frame to be shaped by musicians through the spontaneity

of their performance.

In spite of the large assortment in melodic and rhythmic adaptations, such variety did not prevent the

genre from establishing some forms of conventions, a sort of individuality connecting tarantellas to its

locality. If a step from city to city in the Salento is enough to often perceive some difference in the

varying dialects nuances, the expansion of tarantellas outside Apulia marked even stronger

distinctions in their music. It is important to draw attention to the fact that although tarantellas

originated as the Salentos spider dance, this music was also simply performed in festive occasions

and family gatherings as a form of enjoyment and cheerful social dancing. Out of the region, these

seem to have developed as such, and there is generally no relation whatsoever to the spider myth, or at

least not as heavily emphasised. In some cases, offspring of the dance also adopted new titles siding

or substituting the name of tarantella, in order to accentuate a certain divergence and an autonomic

expressivity; the Naples Tammurriata, or the Sicilian Saltarello, to name a few.

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Probably due to its aural aesthetic, for various years the genre has been unfairly neglected in

literature, inhibiting our historical knowledge and, alas, preventing from moving beyond generic or

hypothetical conclusions regarding the various stages of its growth and development. Contradictorily

enough, a new aesthetical form of tarantellas increasingly attracted the attention of critics and

composer, progressively mutating the folk dance into totally different contexts: piano works, other

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instrumental music or operatic pieces. A new genre began to enrich concert halls in a new, colourful

variety of repertoire.

Chapter Two

2.1 Tarantellas as Art Music in the Concert Hall

The exuberant appearances of tarantellas in the concert hall initially occurred as a new influence

towards previously existing musical genres. What initially disguised as a tempo marking, or a brisk,

lively movement of a sonata or larger scale works, later detached as a fully independent genre in the

Nineteenth Century, increasingly gaining the appreciation of audiences, as much as composers. An

exception from this developing process, however, is amongst the very first forms of notated

tarantellas found in KirchersMagnes: these were expressly written in relation to the myth, rather than

standing as compositional works of conventional purposes. Other than conveying his knowledge on

tarantism, Kircher encloses the Antidotum Tarantulae; eight simple, brief musical anecdotes which

the scholar suggested as possible musical remedies in the unfortunate case of being bitten by the

tarantula (an example is illustrated in Fig. 2.1). All but one of these make use of a duple metre, an

eight-beat melodic line with caesura on the fourth and resolution at seventh or eighth. Such musical

extracts appear to be inspired, perhaps even transcribed, from songs used in the cure of tarantism in

the 1600s.17

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Fig. 2.1 Antidotum Tarantulae,

Illustration in KirchersMagnes (1673), p.874.

Taking a look at another of his antidotes, the Primus, Secondus and TertiusModusTarantella (Ex.

2.1),18

it surprisingly provides the overall harmonic and melodic base in the arrangements of what

today is known as the Tarantella del Gargano, nowadays vividly performed in Apulias festive

occasions. A recorded arrangement made by the folk group Arakne Mediterranea in 200219

actually

makes use of Kirchers melodic line (a), (b) and (c) as an introduction to the piece. This is played

exclusively by a solo violin over the beat of castanets, which removes the antiquated flavour created

by the supporting bass line:

Ex. 2.1 Antidotes from KirchersMagnes (1673), p.761.

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The main Gargano theme immediately follows, along with the entrance of guitar, voice and other

supporting instruments. As shown in Figure 7, the bass line uses the harmonic ending of Kirchers

theme highlighted in red (AmDmEAm), despite the small rhythmic alteration. The harmonic

framework of modern arrangements slightly varies in places to reflect a contemporary musical style;

yet overall, there is a strong connection between the two versions.

Ex. 2.2 Main tune and bass line of the Tarantella del Gargano.

The Gargano region is situated in North Apulia; its tarantella differs from the faster and longer

hypnotic melodies found in the Salento region.

The astonishing similarities between the two inevitably lead to a curious inquiry: questioning whether

Kirchers version was actually notated from a folk tarantella played at the time, or if the folk


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arrangements of this were made following his work. It would be an extremely interesting factor, yet

history is unfortunately unable to provide an answer. Nonetheless, such relation shows an incredibly

close correlation between the Seventeenth Century and our time, greater emphasising the strong role

aurally handed down traditions played and continue to play in this music.

Stepping back to the development of

tarantellas within composers repertoires,

we have earlier mentioned that their

appearances in compositional works were

not as explicitly revealed at first. An early

Eighteenth Century influence from

tarantellas apparently even affected one of

Johann Sebastian Bachs fugues. An 1874

performance review shown in Figure 8,20

mentioned the performance of a Fuga alla

Tarantella, later specified as the A Minor

Prelude and Fugue; to which of Bachs A Minor fugues the article refers to, however, is not specified.

In this respect, a listening through Bachs Prelude and Fugues in this key, BWV 894 certainly stands

out from the others. In addition to a rapid, energetic melodic line, the fugue contains frequent

statements of the main theme in the tonic (folk tarantellas tend to lack complex modulations and

generally prefer the home key throughout); and most interestingly features a continuous, restless

triplet motion, extremely typical of tarantellas found in both non-folk and Salento folk versions. We

have therefore enough elements to narrow choices down to BVW 894:

Ex. 2.3 BWV 894, J. B. Bach.

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In the work just mentioned, the term tarantella described a genre, rather than defined it. We have seen

how features were incorporated as part of the fugal style.

Similarly, the transition between the

Eighteenth and Nineteenth Century saw more

genres influenced by the tarantula dance;

from the last movement of Mozarts

Symphony No.34, a 6/8 Allegro Vivace, to

Beethovens Op.47,Kreutzer Sonata for solo

violin, with a virtuosic third movement in

Rondo form, numerous genres gradually

experimented by means of a tarantella style.

It would not have been difficult to predict that

few years later the blossoming of the

Romantic Movement would have brought tarantellas as a fully revived genre and an autonomous

concert piece. Many composers, for example Liszt, Thalberg and Heller, favoured the dance and

produced multiple works of this vein, increasing its popularity to an enthusiastic audience which

showed great interest and enjoyment in the genre. An extract from The Times (Fig. 2.3)21

in 1836

reviews a tarantella piece as the central attraction of the night.

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In order to get a wider view of what role the tarantella played as a genre and within the wide Art

Music repertoire, a modest collection of tarantella works up to the end of the Nineteenth Century has

been created for the purpose of this study.22 Today we are found with incredible works from the past,

yet such tarantellas are often scarcely noted in history and not as well-known as they deserve. A

collection of past tarantellas has never been created, excluding the greatly limited Websters Timeline

History edited by Professor Parker, which chiefly focuses on tarantellas within literature and lacks an

important number of the musical works composed thus far. The list found in Appendix 1 by no means

includes every single work, yet chronologically discusses the chief works of the genre along with

numerous informative details which enable some remarkable analytical exploration and comparisons.

First of all, the choice of instrumentation is surely an important facet of a compositional work. Using

our table, the summing up of the instrumentation employed in the different categories results in the

following outcome:

Fig. 2.4 Percentages of instrumentation used for tarantellas.

(Appendix 1)

The chart in Fig. 2.4 shows that over half of the works were composed for piano. It is an important

percentage, although partly influenced by the fact that our work list mainly involves Nineteenth

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Century works, when the popularity of the piano increased to its peak; however, the choice could also

have fallen on the instrument due to its musical accomplishment, allowing certain features of the folk

versions to be more easily transferable: the capability of creating harmony and melody in a single

device, for example, as well as being able to capture a big range of sound nuances, techniques and

textures.

Another significant choice of composers to be noted is the position of a tarantella within a multi-

movement work, such as sonatas, suites or symphonies. This is illustrated in the graph below (Fig.

2.5), indicating 0 as the initial piece and 1 as the last. It is possible to see how, being a fast, lively

movement, results firmly concentrate a choice for the last movement within a larger work.

Fig. 2.5 Percentages of instrumentation used for tarantellas.

(Appendix 1)

The works positioned in the left extremity of this graph are a rare deviation due to a lack of relation

between works in a larger collection of studies composed and grouped together. These have however

been included as a representation of possible exceptions within the overall repertoire of tarantellas.

The folk tarantellas performed in the treatment of tarantism involve a high use of minor keys, unlike

the tarantellas played as a form of festive dance which, reasonably, generally employ a major key; an

interesting percentage of the composed tarantellas however seems to reflect their dark side more than

the cheerful, festive version (Fig. 2.6).


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Fig. 2.6 Percentages of major/minor keys employed.(Appendix 1)

Amongst the minor keys, A minor seems the most frequent, occupying 31% of the overall key used

and 44% of the minor keys. Similarly, the therapeutic tarantellas registered by De Martino in his 1959

field research study in the Salento, made a great use of the A minor key, as well as B minor, D Major

and A Major, the tonalities which according to musicians tarantula victims were more easily

stimulated to dance by.23

This coincidence may not be merely accidental: the music composed once

again mirrors the characteristics of the folk tarantellas.

A striking finding from the collected tarantellas is that composers occasionally give details on the type

of tarantella by specifying its location; these are usually Naples or Sicily. Rossinis La Danza, for

example, is often regarded as Tarantella Napoletana, or Maurice Strakoschs, Tarantella Siciliana.

Composers were probably aware that South Italy embraced a variety of tarantellas, yet were they as

equally aware of the differences distinguishing them? These are undoubtedly issues worth some

attention.

2.2 Musical Influences: The Tarantella of Salento, Naples and Sicily

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The locations in which folk tarantellas developed had a significant impact on their styles; different

tarantellas were individualised within the genre, each marked by distinctive rhythmic, harmonic and

melodic features which differentiated their musical character. As for any musical style, traits may

merge into each other; there are no rigorous requisites, nor clear cut lines between the style of one

tarantella and another. The following chapter will however attempt an analytical exploration into what

are the prominent characteristics which conventionally define their identities.

In addition, a critical comparison to compositional works of the Nineteenth Century will be attempted,

carefully investigating the extent to which folk qualities have been preserved. For this purpose,

contemporary arrangements of folk tarantellas will also be used, as well as audio recordings and

transcriptions of live performances by traditional therapeutics from the latter century.24

Although this

comes into conflict with the fairness of the evaluation, the lack of practical resources regarding folk

music of the past does not permit many alternatives. Nonetheless, we have previously explored the

effectiveness of handed down transmission and the way music still strongly bonds to the past; several

elements in the music should therefore counterpoint their ancestors. Awareness in the differences of

era will however be kept vividly throughout.

Tarantellas from the Salento can arguably be regarded as the original or possibly most well-known

version of this music, due to its origins and to its local, vibrant performance activities vigorously

maintained right up to our days. As these commonly relate to tarantism and the spider, music prefers

faster tempos and a driving, pulsating percussion beat.

The time signature features predominantly a 4/4, as also resulted from De Martinos findings (one of

his transcriptions of a domiciled tarantella therapy is shown in Ex. 2.4).25

This is, in fact, also the

meter employed by Kircher in hisAntidotum.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AT!4>>/;&.N!A3!AU!X/!I%,+.;72!45(62&&5(,21(7"8%%2!>>38U"f8UU3!


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Ex. 2.4 Transcription of a tarantella therapy performance,

Nard, 26 June 1959.

Triplets in the melodic line are extremely popular, particularly when a violin is involved. There is also

a high use of dotted rhythm figures, such as the quavers in the guitar and tambourine parts, often

maintained throughout the entire duration of the performance. Triplets can also be found in various

tarantella compositions; an incessant run of triplets alternating between Treble and Bass clef is found

in Thalbergs Op.75 No.5 (Ex. 2.5) over a 2/4 time.

Ex. 2.5 Penses Musicales, No.5, Op.75, S. Thalberg.

The time signature most frequently found in compositions is however 6/8 meter. This perhaps aimed

at accommodating the long triplets run as a simpler grouping of three quavers, but not necessarily.

Their choice might have been the influence of other versions of tarantellas.

Three-groupings are actually an important rhythmic figure in tarantellas. The maintenance of the

pulse by the tambourine is executed in two ways: a strong attack, achieved by a stroke of the hand in

the central area of the instrument, or a rolling of the hand on the surface producing a longer, rattling

sound. By aligning the alternation of strong and weaker attacks amongst the succession of strong-


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weak patterns occupying most of the percussive accompaniment, we sometimes come across the

following alternation:

Fig. 2.7 Tambourine strong/weak attacks.

The succession of strong attacks gives a further push to the drive of the music. As tarantellas progress,

a longer succession of strong beats are played, generally from the middle section and at the closure of

the performance; tension and energy are heightened like small climaxes in the music, subsequently

relaxed by a return to the usual strong-weak alternation.

The peak frequency spectrogram in Fig. 2.8, produced from the first minute and a half of a recent

popular festival recording with the violinist Mauro Durante,26

enables a clearer view of the frequency

of these strong attacks. The long vertical lines represent the steady, strong beats of the tambourine; as

the music moves forward denser sections of strong beats appear, gradually increasing their lengths,

with the longest succession usually kept for the end. With the heightening of tension, the melody

involved higher pitched notes, as indicated by the blue box.

Melodic lines, when played by violin or guitar, are often long, rapid, and involving virtuosic abilities

by the player something which again we find in the tarantellas of the Romantic repertoire. Another

frequent characteristic of the melody is the repetition of a single pitch with the alterations of upper or

lower auxiliary, sometimes not only used for embellishment, but creating the impression of an

independent melodic line over a pedal note. An example of this is found at a later stage of De

Martinos transcription earlier mentioned:

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AY!4>>/;&.N!A2!*,%0-!A3!


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Ex. 2.6 Live tarantella transcription,

Nard, 26 June 1956.


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Figure 2.8 Peak frequency spectogram of a tarantella performance.

(Appendix 2, Track 2)


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In spite of the wide usage within Salentos tarantellas of the melodic device just mentioned, it seemed

a less favoured choice by composers. Even if looking specifically at violin compositions of

tarantellas, the repetition of a single note rarely exceeds the length of one or two bars. A possible

exception which contains textures very much alike is Mertzs Op.13 guitar tarantella; however, due to

the nature of the instrument and its techniques, this pattern is extensively used in guitar music and

easily found anywhere in their repertoire; it is therefore not a coherent example.

Highly exploited in both folk and non-folk contexts, instead, are downwards scalic figures; composers

at times replaced the original diatonic folk version (Ex. 2.7) to chromatic runs (Ex. 2.8):

Ex. 2.7 Diatonic pattern, transcription of Appendix 2, Track 2, 0:33.

Ex. 2.8 C Minor Sonata, fourth movement, D.958, F. Schubert.

The folk tarantellas pertaining to Naples share very different aspects with respect to the musical traits

of the Salento. Unlike the previous case, the time signature prevailing in Neapolitan tarantellas is 6/8;

although tempo maintains energy, the aforementioned is not as quick-paced. Melodic lines are much

more colourful and songlike; lyricism is actually a strength which has always stood out in Neapolitan

traditional music.

Harmonies explore a richer variation, unlike Salentos tarantellas which heavily base on the

succession of chords I and V. The simplicity and predictability of the tonic-dominant harmonic frame,


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however, enabled a freer melodic improvisation from the players; something which the framed chord

progressions exemplified in Ex. 2.9 may obstacle. The music presents a much more fixed, structured

arrangement during its performance; a more limited degree of improvisation perhaps based on the

rhythmic and ornamental level, rather than melodic.

Ex. 2.9 Transcription of the traditional Tarantella Napoletana.27

The structure of this tarantella is a Rondo form, following ABACA rotations. This is also the structure

often employed by composers in their tarantellas, such as Schuberts last movement of the D.958 C

Minor sonata, or Wieniawskis Scherzo Tarantelle Op.16, to name a few.

A Neapolitan subgenre of the tarantella, as mentioned in our previous chapter, is the Tammurriata.

This style moves much closer to the Salento. Melodies and harmonies are still enhanced by the

Neapolitan influence; tempos are however faster, duple meter, with a strong, pulsating tambourine

beat, supported further by the crisp sound of castanets.

28

An interesting feature is the closure of the

final melodic arch through la rotata (the turn), the high point of the performance: a sudden

accelerando in the tempo, a brief yet energetic cadenza leading the music to the final cadence. The

increased intensity at the end of the piece not only reminds of the tarantism rituals, when the last

extreme forces culminate in the last steps of the dance; but this is also a performance convention in

the execution of Art Music tarantellas: scores always imply strong performance directions and

powerful dynamics, like con fuoco (with fire) markings in the coda, as found in Giuseppe Martuccis

Tarantella Op.6; in a decisive, fortissimo chordal ending (Ex. 2.10). Although indications of anaccellerando towards the ending are sometimes not specifically commanded in the score, many

professional performers appear to have the natural tendency of increasing their speed in the coda of

the piece.

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"3!$%%&'()*!"+!,-./0!42!


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!

!"#$%&'()*!5!!"#$%&'(()*6)789&!:'!8;&!9&;82!

Ex. 2.10 Tarantelle, Op.6, G. Martucci

Sicily and its tarantellas stand a little further away from

Salento and the Tammurriata. The first, strongest

dissimilarity is the combination and difference in

instrumentation: the tambourine, although present, is not

as prominent within the ensemble; it accompanies and

supports, rather than guiding the music. There is a wide

use of marranzanu (Jews harp), also called

scacciapensieri (send thoughts away), and the friscalettu (Fig. 2.9), in addition to other local

instruments. Already the instrumentation suggests a much more carefree dance style and a cheerful

character, purely for festive occasions and social gatherings.29

Taking a closer insight into the music, these tarantellas enhance the light-hearted spirit through a

jumping base line. The melodic line and base of a Sicilian tarantella is shown below:

Ex. 2.11 Transcription ofMarranzanu, Tarantella Siciliana.

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Like the Neapolitan tarantella, there is a frequent employment of 6/8 meters; the transcriptions of

Sicialian tarantellas found in De Giorgis Lestetica della Tarantella gives further support to this

point.30

The chordal accompaniment of the ensemble, generally played by an accordion, is often in

syncopation to the percussion, playing every upbeat and pausing in the downbeats. Some versions,

however, make use of the dotted rhythm highly employed in the Salentos tarantellas:

Ex. 2.12 Possible rhythmic patterns by accordion/harmonic accompaniment.

We have therefore explored general traits which distinguish the three main types of Southern Italian

tarantellas. Their differences are made up of various, small details, yet the overall character changes

across each city: dramatic and energetic for the Salento, lyrical with colourful harmonies in Naples

and a playful, festive Sicilian dance. When a composition of the Nineteenth Century however

intentionally refers to one of these sub-genres, can there possibly be any direct relation to the

characteristics just listed above? After all, the association of a specific imagery with a piece of music

was a popular custom of the Nineteenth Century.31 Hence, were these composers aiming simply at

extra musical meaning for programmatic purposes? There is only a very limited extent to which we

are able to provide a satisfactory answer, yet it is certainly worth the attempt.

Liszts supplement pieces Venezia e Napoli to the Annes de Plerinage, Deuxime Anne include a

tarantella with a Canzona Napolitana. The opening bars oppose the Neapolitan characteristics: these

are fast,Presto paced, in a dark G Minor key (Ex. 2.13). The composer himself however contradicts

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The presence of dissimilarities between the two tarantella genres was obviously predictable, yet the

proportion of these is as interesting as it is puzzling: many divergences, yet few but very strong

Neapolitan related elements. The composer seemed to have an awareness of the Neapolitan character,

yet the extent remains unclear.

In search of further evidence, Strakoschs Sicilian tarantella will also be briefly explored. Throughout

the Romantic repertoire, Sicily is not as frequently mentioned as Naples; therefore, some relation to

Sicily is reasonably expected.

Tarantella Siciliana uses once again a 6/8 meter. In spite of the principal A minor key, the character

does not reflect the darkness of Liszts S.162; often, the minor key is even lightened by major

nuances, such as the rising demisemiquaver runs in the introduction (Ex. 2.15), as well as larger major

sections enclosed in the central section of the piece.

Ex. 2.15 Tarantella Siciliana, M. Strakosch.

The con fuoco marking is perhaps more reminiscent of the Salento tarantellas; nonetheless, the

preference of an Allegro pace in place of aPresto matches Sicilian tempos.

We have previously mentioned the characteristic jumping base in a typical Sicilian tarantella. This is

repeatedly found throughout the piece. The bass line in the opening theme surprisingly uses the same

fifth interval accompanying the Sicilian folk tune previously explored (AEAE sequence), although

the A in this case is an octave higher (Ex. 2.16).


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Also of interest are the choice of staccato lines, enhancing the playfulness of the music and even

resembling the rhythmic instrumentation of Sicilian tarantellas and distinguishes from the others, as it

excludes violin or vocal textures.

Further features are found later in the piece: as well as ornamented melodic lines, from upper

mordents to trills, bar 131 (Ex. 2.17) features a rhythmic accompaniment similar to the accordion

patterns earlier mentioned. The value in the note length may change, however they still involve dotted

rhythm feeling. The arpeggiated chord at the end phrase gives further embellishment to the phrase.


The following tarantella captured much more the essence of what folk Sicilian tarantellas represent in

the folk tradition. Changes in texture are much more sectional than the sudden contrast in Liszts


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S.162, which follows the folk structure, with returns of the main theme throughout. The composer

here appears to own a good knowledge of the folk style.

The risk of comparison between the work of composers and folk arrangements is not only the clear

difference in genre and purposes of the pieces, but also the degree of influence in the composers style

in his musical writing. If Sicilian aspects seemed to prevail more in the latter tarantella than the

Neapolitan features in Liszts work, it cannot be claimed that one composer was more aware of the

folk characteristics than the other. When musical qualities in a composition relate to the folk features,

there is clearly an amount of knowledge which the composer applies and manipulates. We might

never be able to know its extent; a notion may however be gained through an insightful biographical

research. It would nonetheless be erroneous to consider such features coincidental. The challenge lies

in their identification, particularly when obfuscated beneath the layers of the composers own writing

style, as well as the changes related to the adaptation of the music for a completely different

instrumentation. The choice in the emergence of these obviously falls onto the composer; yet a

musical distinction between the various tarantellas would provide further acquaintance and enjoyment

from an audience perspective, rather than a generalisation of the genre, something which often

happened in the compositions of the past, with the employment of the single title of Tarantella.


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Chapter Three

3.1 Chopin and his Tarantelle, Op.43

Amongst the list of composers who dedicated at least one of their works to tarantellas, we find

Fryderyk Chopin. The incredible expressivity of unprecedented musical fantasy and an unmistakable

lyricism of bold, chromatic melodies successfully claimed the composer a leading figure of the

Romantic Movement, whose inestimable contribution included the well known nocturnes, numerous

polonaises and various mazurkas and etudes. Throughout his extensive piano repertoire, however,

Tarantelle stands on its own: Op.43 is not only an exception in its genre, but in terms of character too.

Following a brief historical analytical investigation, a localization of Chopins work within the folk

tradition will be attempted, in search of what inspired the composer and to what extent if any

features of the music follow stylistic conventions of a specific folk tarantella subgenre.

Chopins Op.43 was composed during the early summer of 1841. A previous sortie to Italy could have

been part of Chopins inspirational source to the bravura piece; major inspiration however derived

from La Danza, a vocal piece composed by Rossini few years before. The composer was in fact so

keen on Rossinis work that assigned to his factotum Fontana the task of verifying the works time

signature and conform the Op.43 accordingly, changing from the initial 12/8 to a 6/8 meter.32

The work is actually not as well known and very little performed. Even during Chopins time, Op.43

was amongst the pieces which made sporadic appearances in programmes.33

This is rather

surprising, in that the work not only presents enjoyable technical challenges from a performer

perspective, but can also create a pleasant listening experience to the listener. Although Chopin

himself disrelished the work, referring to it as that wretched Tarantella in one of his letters,34

different sources positively refer to the work: an 1843 article from The Illustrated London News for

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1"

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example, reviewed the piece as sparkling animation and deliciously characteristic gaiety.35 A

possible explication which is not to be excluded may be found in Samsons The Music of Chopin: the

author describes the way certain vernacular styles and genres, such as Chopins Tarantelle, meet the

demands of the salon on its own fairly shallow terms.36 Perhaps a tarantella did not ideally match the

demands of a high class audience; however the increased in the number of composed tarantellas

throughout the Nineteenth Century certainly proves a degree of interest in the genre. Cases are

however to be taken individually, and Op.43 somehow remained unjustly latent in the performance

world, as it is still today.

Figure 3.1 Thematic outline of Chopins Tarantelle, Op.43.

The overall structure of Chopins Tarantelle grounds on episodic bases; each section encloses new

melodic material, at times also bringing a change in the texture of the music. From the thematic

outline of the piece illustrated in Fig. 3.1 (themes are illustrated in Ex. 3.2), it is possible to see that

the order of the subjects has a rather unusual arrangement. Theme A occupies the extremities of the

tarantella, whilst the subject with most frequent appearances is Theme D, sparse in the middle section.

With exception of C, F and a dramatic intensity at G, themes share similarities in both their character

and texture: a lyrical, tuneful melody over a continuous flow of quavers in the bass. Their calm, piano

dynamics however never fully last through sections: softer lyrical themes are always interrupted with

the abrupt entry of stronger themes or by the sudden, unexpected appearance of accented octaves.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1@!3:'*A&&)#(,%('2*/7-27-*B'C#+!\:92"+!E[:'(:'+!=&%8&KT&-!GY+!G341F+!%2G3Y2!!1Y

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Ex. 3.1 Thematic material of Chopins Tarantelle, Op.43.

Interesting to notice that the length of each theme matches KirchersAntidotum Tarantulae explored

in Chapter 2; with exclusion of theme D, whom ending of the phrase is extended for seven more

beats, all phrases follow a regular eight-beat span.

Another connection to the folk tarantellas, probably closer to the Salentos genre, the piece seems

much attached to the tonic key A-flat Major. Minor shades make their appearance in places, such as

the relative minor in themes C and D, or A-flat minor in the climactic theme G; however the home

tonality always prevails throughout. Nonetheless, the work certainly does not lack in harmonic

richness and vibrant chromaticism. Chopin actually makes extensive use of chromatic motions, not

only through falling and rising quaver runs, as in theme C, but also in the form of a subtle step motion

of the bass:


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Ex. 3.2 Chromatic descent in the bass, Chopins Tarantelle, Op.43.

We have earlier mentioned the driving energy created by falling diatonic scales in folk tarantellas.

Similarly, the chromatic motion here employed by Chopin creates a strong sense of motion and really

pushes the music forward.

It is perhaps tempting to think that the simplicity of the single title Tarantelle reasonably leads to the

assumption that musical traits are centred towards the original Apulia version; this is however an

argument on which conclusions cannot be claimed, and would certainly result erroneous if taken for

granted. The title of a work may not necessarily reveal the entire musical content, and the absence of

any further specification certainly does not confirms the influence of a specific tarantella genre, other

than the commonly known version from the Salento.

Literatures viewpoints regarding Chopins work are rather contradictory between themselves: we are

at times presented with allusions describing the work as the frenzied spider dance,37

therefore relating

to the Salento, against references which relate to a light-weight Sicilian influence.38

To complicate

matters further, the piece to which Chopin so carefully regarded and inspired, La Danza, is a

Neapolitan tarantella, as declared in various literature. Therefore, which of the three styles can be

claimed to appear more prominently in Op.43? Just as for the process undertaken in our previous

chapter, the attempt of relating a compositional work to the folk genres will inevitably be affected by

an open portion of subjectivity due to the strong contextual differences. The interpretation of a piece

may vary with the individual, and what one may consider a prominent feature might not be regarded

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1#!$-8;I-!Z&(9&O+!9:7;"-!E[:'(:'+!G?4#F+!%2G@G2! *13!W)K!=.K7:'+9:7;"-!EG??YF+!%2"Y@2!!


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as such by another. With the effort of maintaining such exploration as much as possible through the

neutral lenses of a musical analysis, folk relations will be carefully considered.

We have already mentioned the stepwise chromatic bass notes of the initial theme. This alternates

with longer stays over a single pitch; the initial note of each beat is regularly repeated in an ostinato

effect. This point does not play in favour of the Sicilian tarantella style, which often comprise a

playful, bouncing fifth motion in the lower line. In fact, the overall character of the tarantella,

particularly with its contrasting, dramatic sections, diverges from the cheerful Sicilian dance. In

places, music even encounters sections of heightened tension through darker harmonies and powerful

dynamics. Therefore, we might as well exclude the possibility of a Sicilian influence. The remaining

choice fluctuates between a Neapolitan and a Salento influence.

The colourful melodies, clearly relate to Rossinis work, can be easily associated to a Neapolitan

fingerprint, although Chopin rhythmically preferred longer, smoother lines, a typical characteristic of

his style. Theme A seems a backward outline of Rossinis theme in the accompaniment line (Ex. 3.4).

Ex. 3.4 Melodic relation in the themes of RossinisLa Danza and Chopins Tarantelle.

Op.43 however turned Rossinis Allegro con brio into aPresto; fast paced works fit easier in the folk

Salento category, the restless spider dance.

Something extremely of usage in composed tarantellas are the introductory bars of the piece: few

preliminary measures which sometimes involve rhythmical ambiguity or even the use of unrelated

material to the rest of the piece. Chopin opens the tarantella with a bouncing E octave leap

establishing a rhythmic pattern which will be frequently used later in the music (Ex. 3.5). This is also

the rhythm so popularly used in the folk tarantellas.


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Ex. 3.5 Opening bars of Chopins Tarantelle.

With some imagination, we could even relate the ambiguity of the opening to the music of the

tarantism therapists. Just as musicians initially looked for the right rhythm or melodic line to establish

a connection with the spider victim and induce the dance, composers could have intentionally

conveyed the folk characteristic in those introductory bars. The following supposition is however

purely hypothetical. As rhythm is immediately established in this case, we could also interpret as

being the notes of the first player in a folk tarantella ensemble, beating the time for the rest of the

group and preparing his co-performers for a start.

The salient moments in the music, the dramatic outbursts in the piece, can be once more related to

Apulia: these sections not only evoke the frenetic spider dance through a darker character, minor

tonalities and restless quaver runs, but also the place in which they occur throughout the piece find a

relation to the latter, reminding the tambourines gradual increase of tension-relaxation points, with

final outbreak at the end of the performance. Chopin also gradually introduces the darker features,

which eventually culminate in the climactic outburst of Theme G, bar 164. As music apparently

settles back again with a return of the initial theme, the coda will lead to a further increase of tension:

the final, powerful climax. The robust sonorities guide the music towards one of Chopins rare fff(bar

260),39

before the final perfect cadence in the home key will bring the piece to a decisive ending.

Although the rotata inthe Neapolitan Tammurriata also involves a sudden, faster closure of the piece,

the gradual increase in speed and tension during coda, through a Sempre pi animato e crescendo

marking, vividly provokes the imagery of the tarantatas final, extreme forces consummated by the

frenetic dance.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1?!D.78:'&!]&9:88)+!9:7;"-!EL)9.':+!G?34F+!%24"A2!


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We have therefore demonstrated the way folk Neapolitan and Salentos traits emerge in the course of

the piece. Although the work seems more inclined towards the Salentos tarantella, Neapolitan

influences are not to be excluded. The way the polish composer makes use of enriched harmonies for

example, at times with surprising twists, in accompaniment of fascinating lyrical melodic lines. One

genre does not exclude the other, and neither we are able of claiming a single, definite conclusion.

In respect of what we have categorized as problematic at the beginning of this study, in fact, we have

not considered the possibility that, as in this case, the generalised title Tarantelle appropriately

matches the work, in that characteristics of more than a single genre have drawn together into a single

work. In the case of the composer, intentionally specify the genre, we have shown that it is very likely

that a more explicit awareness of that style is deliberately applied. Therefore, everything connects

back to our starting point, but this time with the realisation that there can be further meaning behind

the composers choice of employing a single term. However, it is not to forget that regardless of the

level of awareness an individual may have in the different types of tarantella, every composer share a

common, simple objective: to enjoy, and let the music be enjoyed, and this should be the priority in

the performance, listening and exploration of music.


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CONCLUSION

Throughout the following study has explored various aspects related to the musical genre

tarantellas. The mystical origins of tarantism have been explored, both through a historical

recount, as well as old scores and analytical approach to antique scores. Whenever possible,

relation between the folk and the classical contexts have been made, with the aim of

dissolving the line which too often separates the two musical genres. It has been possible to

distinguish specific features for the different types of folk tarantellas, and group the emerging

features into some models, to enable an easier comparison with the composed music, mainly

of the Romantic period. An analytical and critical approach to Chopins Tarantelle revealed

various interesting aspects of the music, particularly when these seemed to match with the

folk traits.

The work undertaken so far can be considered the onset point of a much larger scale research.

There are an incredible amount of music to analyse in greater details and a vast number of

ideas to be pursued. For example, tarantellas are also occasionally related to Spain. What

relation is there? Did tarantellas influence other musical genres overseas? Or again, are there

any exotic influences which affected of the music at the various stages of its development? A

relation to Greece could certainly be made for example, due to the close Geographical

position and historical relation to the country. Further research in the sources of the past

could, such as ancient scores, or the earliest recording of tarantellas would also reveal more

strands to follow. Also a deeper biographical knowledge of the composers would enable a

tracking of the influential source affecting their composition, and reveal how the Italian vain

came to take part in the composers style.

Since the initial point of this project, there was a clear realization of the problematic which a

comparison between so different contexts would raise. Time and source restrictions only


44/49

allowed a limited overview on the topic, yet wide enough to find an extremely interesting

variety of results, at times also rather unexpected, which not only expanded the overall

knowledge on the genre, but generated further interest and enthusiasm.


45/49

Appendix 1

Chronological Collection of Tarantellas

Year Composer Work

Number

From / Title Movement Instrumentation Key

(*) L. M. Gottschalk Op. 67 Grande Tarantelle Piano and Orchestra A Minor(*) S. Heller (18131888) Op. 53 Tarantella No.1 Piano E Minor(*) C. Rossini (17921868) Tarantelle pur Sang Piano C Major(*) L. Godowsky Tarantella, No.9 after Chopins Op.10

EtudesPiano A Minor

(*) J. F.Burgmller! Op. 100 La Tarentelle Piano D Minor(*) M. Strakosch (18251887) ! Tarantella Siciliana Piano A Minor(*) C. Baermann (18101885) ! Op. 63 tude No.41, Tarantella Clarinet A Minor(*) V. Lachner (18111893) ! Op. 52 Impromptu and Tarantella 2/2 Piano A Minor(*) I. Brll (18461907)

!

Op. 6 Tarantella Piano A Minor

1641 A. Kircher Eight songs to cure tarantism (inMagnes;iii, chap.8)

1725 J. Sebastian Bach! BWV 894 Prelude and Fugue Alla Tarantella - Keyboard A Minor1780 W. A. Mozart! K. 338 Symphony No.34 3/3 Orchestra C Major1790 W. A. Mozart! K.593 String Quintet No.5 4/4 String Quintet D Major1803 L. V. Beethoven Op.47 Violin Sonata No.9 Kreutzer Sonata Violin A Major1822 C. M. von Weber Op. 70 Piano Sonata 4 / 4 Piano E Minor1824 F. Schubert D. 810 Death and the Maiden Quartet(String

quartet No.14)4/4 String Quartet D Minor

1828 F. Schubert D. 958 Sonata in C Minor Fourth Piano C Minor

1828 D. Auber La Muette de Portici (M asaniello) Act III Opera1833 F. Mendelssohn Op. 90 Italian Symphony, Saltarello A Minor1835 G. Rossini S.162 Les soires musicales : La Danza,

Tarantella Napoletana8/12 Voice A Minor

1835 G. Verdi! La Forza del Destino Act III Opera C-sharp Minor1838 G. Verdi! Les vpres siciliennes Act II Opera E Minor1840 F. Liszt S. 159 Venezia e Napoli: Tarantelles Napolitaines 4/4 Piano G Minor1841 F. Chopin Op.43 Tarantelle Piano A-flat Major

"#$!%!&'(')*'!+,-.!


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1845 Felix Mendelssohn Op. 102 Lieder ohne Worte 3/6 Piano C Major

1848 S. Thalberg Op. 65 Tarantelle pour Piano Piano C Minor

1855 H. Wieniawski Op.16 Scherzo-Tarantella Violin G Minor

1855 C. Tausig! Op.2 Introduction and Tarantella Piano A Minor1857 C. Saint-Sans Op. 6 Tarantella - flute, clarinet and

orchestra/piano

A Minor

1858 L. M. Gottschalk Op. 67 Clbre Tarentelle Piano and Orchestra

1859 F. Liszt S. 424 La Danza, Tarantella Napoletana (Rossini) 3/3 Piano G Minor

1859 C. Cui Op. 12 Tarantelle Orchestra G Minor

1859 R. Joachim! Op.85 6Morceaux 6/6 Violin E Minor1862 S. Thalberg Op. 75 24 Penses Musicales 5/24 Piano G Minor1865 S. Heller Op. 85 Two Tarantellas Piano A Minor

Ab Major

1868 C. Saint-Sans Op. 22 Piano Concerto No.2 3/3 Piano Concerto G Minor

1871 R. Joachim! WoO.35 Italienische Suite 5/5 Orchestra D Minor1873 G. Martucci! Op.6 Tarantella Piano B Minor1879 A. Pieczonka Op. 6 Danses de Salon: !

-Tarantella in A Minor!- Tarantella in E Minor

- 1 / 10

- 10 / 10

- A Minor

- E Minor

1880 D. Popper Op. 33 Tarantella Cello G Major

1885 F. Liszt S. 482 Tarantelle after Csar Cui Piano G Minor

1886 M. Moszkowski ! Op.27 Barcarole and Tarantelle 2/2 Piano G- flat Major1890 C. Debussy L. 69 Danse (Tarantelle styrienne) Piano E Major

1890 E. MacDowell ! Op. 39 Twelve Studies: (2) Alla Tarantella 2 / 12 Piano C Minor1899 P. de Sarasate Op. 43 Introduction and Tarantella Violin and orchestra C Major

1935 S.Prokofiev Op. 65 Musique d'Enfants 4/12 Piano

1846,(Rev.

1869

F. Liszt S. 386 Tarantella di Bravura d'aprs la Tarantellede La Muette de Portici

Piano E Minor


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Appendix 2

Tracks List

1. Tarantella del Gargano (Arakne Mediterranea)2. Indiavolata (Live Recording at Notte della Taranta)3. Tarantella Napoletana4. Tammurriata5.

Tarantella Siciliana

!!!!!!!!!!! !!!!!!!


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Documents

Graziana Presicce Dissertation, The Tarantella as Genre 2012