The moment I see a teacher marking a pirouette that has a massive, sweeping balancé in it, I know there’s trouble ahead. Like the dreaded 2/4 sissonne of yesterday’s post, the slow mazurka pirouette is one of those ballet exercises that makes choreographic sense, but leaves us musicians with a problem, because – unless I just haven’t discovered it yet – there’s not a lot of music in the world that goes like this.
What in the world is a “slow mazurka”?
In terms of tempo, this kind of pirouette music is heading towards a polonaise, but a polonaise doesn’t have the right feel. Rhythmically, it’s in the region of a ballroom mazurka or polka mazurka, but those two dance forms are really too light and dainty for the expansive power that the exercise needs. The nearest thing might be the waltz from Act I of Giselle, but playing that probably won’t make you many friends in a company class. The A minor mazurka from Etudes (see earlier post for sources) is nearly right – but is still too fast for the kind of exercise I mean. The Rédowa from Meyerbeer’s Le Prophète – used in Les Patineurs (on page 147 of this score from IMSLP) – is almost perfect: you can play this really slowly, and it still works. It fills out the space between the beats, and it’s very triple, and you can play it anywhere between butch and dainty without ruining it. But that’s just one piece, and it’s probably not a good idea to play it if Patineurs is in the company’s repertoire.
The problems of pirouette music on a slow three
So you have to improvise, and improvising in a slow three is hard. One of the biggest problems with it is that we’re so used to the metrical model of the waltz, that when you’re faced with something that needs to have three proper, solid beats in a bar, and a main accent at the beginning of each one rather than every two bars (i.e. it’s truly triple, not a kind of duple hypermeter like most waltzes), it’s difficult to stop your mental metrical framework slipping back into waltz mode. If you do, you’ll be constantly too fast and out of time with the dancers, and you’ll spend half your mental energy trying to keep at the right tempo, and you won’t succeed because the metrical pattern is basically wrong.
It’s also easy to get lost, because you start to think in little phrases of six, losing your sense of where you are in the eight-bar phrase. Well I do, at least. It’s also hard to be interesting. If you look at the model of the Prophète redowa, that’s an awful lot of notes and unexpected melodic, harmonic, metrical, and rhythmic activity – like ending with a cadence on the last beat of the bar, for example. Unless you’re a genius, you can’t just keep making this stuff up in interesting ways while 40 groups of dancers do 16 bars each.
As with the 2/4 sissonne, this is one of those ballet problems that you just have to deal with, and if this sounds familiar, it’s because I’m repeating myself: I’ve already written about this in another Advent Calendar (though I wrongly said the piece was from L’Étoile du Nord). The Redowa is one of the things that I refer to as a musical “honey spoon” because it’s a rather weird implement that does one, necessary task. It’s not got any easier since writing those posts. If anything, it’s more difficult, because the more aware you are of what the “musical body” of an exercise should look like, the harder it is to be satisfied with playing things that don’t quite work. Reading that earlier post from 2007, there’s a hint of snideness about it which I no longer feel. In the intervening years, I’ve come to realise that you don’t solve these problems by getting annoyed at them, but by respecting them.
A year after I wrote this post, I decided to try and solve some of the problems in my “year of ballet playing cards” series. There are a few slow mazurkas that would work as pirouette music in that series, including