In his Der Vollkommene Capellmeister (Hamburg, 1739), Johann Mattheson wrote of the bourrée, "its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable". A pas de bourrée piqué picks up the feet in between steps. In one account it begins with an extension of the first leg while demi plié, closing it to the second as both transit to relevé, extending the second leg to an open position and again closing first to second in demi plié, or with legs straight if quick or as the final step of an enchainement. A pas de bourrée, more commonly known as the "behind side front" or "back side front", is a quick sequence of movements often taken in preparation for a larger step. Yuri Khanon " L'Os de chagrin" (" The Shagreen Bone" opera-interlude) Final: BourréeĪs later formalised in classical ballet the skipping step of the bourrée became a quick, gliding step, often en pointe or demi-pointe, one of the most-used step sequences of ballet. The rare pas de bourrée of two movements, mentioned above, occurs as a graceful variation in some recorded passepied, as part of a minuet step of three movements. The pas de bourrée of one movement is the second half of the most common minuet step, the minuet step of two movements, or "one and a fleuret", as the English master Tomlinson described it. The minuet step is a pas composé, a step composed of more basic steps. a plié on the supporting leg) and three subsequent changes of weight in a measure, can be performed in a great many variations, and varieties of this step appear commonly throughout the notated dances that were published in the eighteenth century, starting with Feuillet in 1700. The basic step, with one initial movement (i.e. The step with two movements is not illustrated by Feuillet but appears in Rameau as the "true" pas de bourrée, the simpler step, with one movement, is identified with the fleuret. Marguerite de Navarre, who was the wife of the King of Navarre and sister to the King of France, introduced the dance to the French court in 1565 and it was popular until the reign of Louis XIII (1601–1643) and opened many balls, but the bourrée took some time to appear in the early ballet dance notation of the French baroque theatre. Musically, the bourrée took on the common binary form of classical dance movements, sometimes extended by a second bourrée, the two to be played in a grand ternary form A–(A)–B–A. However, there is no early dance notation and it is difficult to assess the early interaction of the folk dance and the courtly dance. Michael Praetorius mentions it in his Syntagma musicum and it is one of the dances arranged for his collection Terpsichore. However bourrées have been composed as abstract musical pieces since the mid-16th century. Modern variants termed bourrées are danced as partner dances, circle dances, square dances and line dances. The present-day dance in lower Auvergne, also called Montagnarde ( Montanhardas), is in triple time while that of high Auvergne called Auvergnate ( Auvernhatas) is in double time. First mentioned as a popular dance in 1665 in Clermont-Ferrand, it still survives in Auvergne in the Massif Central and in the department of Ariège and is danced during bals folk in France and in other countries. It is sometimes called the "French clog dance" or a " branle of the sabots". The bourrée originates in Auvergne in France.
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