Here is some information about quadrilles.
Jim Corsaro
-- The Quadrille
-- The Quadrille or "Quadrille de Contre Danse" was originally a card game
for four people but the name was given to this dance about 1740. The dance
probably derived from the Cotillions of the time.
-- Quadrilles were first introduced in France, about the year 1760. They
were then performed by two couples, as the figures first used in the French
quadrilles only required four persons. At a later period, two couples were
added to form the sides, and these simply repeated the figures while the
first couples rested.
-- The Quadrille was introduced to England by a Miss Berry to the Duke of
Devonshire in 1808 and made fashionable by 1813. By 1815, Lady Jersey and
Lady Castlereagh as well as others brought it from Paris and danced it at
Almack's in 1815. The first night on which it was danced, Lady Jersey, Lady
Harriet Butler, Lady Susan Ryder, and Miss Montgomery, with Count Aldegarde,
Mr. Montgomery, Mr. Harley, and Mr. Montague for their partners. The
Quadrille was finally taught to the upper classes around 1816.
-- Originally there were only three kinds of quadrilles, those now known as
the plain quadrille, the Lancers and the Caledonians, but as society seemed
to tire of these dances, the dancing masters hit upon the plan of
introducing the waltz into the square dance, and produced a new quadrille by
altering the old figures to meet the requirements of the added element. The
Lancers were new figures that were added to the Quadrilles around 1820 (the
Caledonians was more ORIGINALLY popular). These dances were two of the main
dances danced during this period.
-- The dance terms of the Quadrille were basically the same as in ballet
such as jeté, Chassé croisé (to places), plié or arabesque as well as
categories such as Plain Quadrilles, Fancy Quadrilles, New Quadrilles etc.
Contra dance, Lancers-(the second set) and Quadrilles are basically old
country dances or the forerunner of Square dancing today. The Contra dance
and Quadrilles only differ in the position of the dancers, as the same calls
or steps may be used. The Quadrilles incorporated Cotillions and
Contredanse. This mixing gave the Quadrille unlimited patterns or figures to
dance.
-- The Quadrille (translated) means technically, to assemble four or more
ladies and the same number of gentlemen to make a "Set." The head couple
generally faced the stage or the entrance of the hall. The order of dance
was a hierarchy system. The Contra dance (French) translated literally meant
"Opposite Dance"or "Country dance," with two couples making up the "Set,"
the first being the Francais Quadrille. (actually any number may dance, but
their are "ideal" sets).
-- Step names consisted of Le Pantlon (the English), L'Eté (Avante-deux) L
Poul, La Tremsie and Le Final (chassé-croisé or Saint-Simonienne). The
Finale was danced either with the chassé-croisé and the Enavant, or with the
Boulangère, the Corbeille, the Moulinet, the Saint-Simonienne or the gallop.
They still had the Quadrille-Croisé: two Quadrilles placed in two different
ways, acting in the same time, executing together figures which did not
differ from those of the simple Quadrille. The Passe-passe was a charming
Quadrille; it was danced by four couples, one of which conducts it. The five
figures were called: Passe-passe, Passera, Petit-menuet, Chaîine de fleurs,
Tour du monde in sixteen measures. It finished in the Tunnels, Grand final
gallop.
-- The Quadrille was a very lively dance, unlike the Minuet. The Dance was
usually ended by a Galop (Polka) as well as there being Galop Quadrilles,
Schottische quadrilles etc. done by four couples. There were MANY QUADRILLE
DANCES such as the "Parisian Quadrilles" done in the United States as well
as a "New Quadrille" which was introduced by Eugene Coulon in 1846.
----- The Empire Quadrille was adopted by the Congress of Dancing Masters in
1858 and by the great dancing masters Cellarius, Laborde, Coralli, Coulon
(Coulons Quadrille or Double Quadrille) in Paris and London.
Research words to help your searches!
Corners Round Dances, Square Dances, Country Dances Parisian
Pantalon Pantalon, Ete', Poule, Trenis, Pastourelle, Finale Cavaliers
Stately French Quadrille, English Quadrille (Lancers),
American Quadrilles, Italian Quadrilles Chivalry
Seven Years War French and Indian War
Locations Clubs ---- Buildings
Vienna Almack's n/a
France
Sheet Music Publications Movies Plays
1875- N.Y. Quadrille n/a Pin Up Girl 1/16/1899-Ziegfeld-Carnival Quadrille
1937 - Queen Victoria
Associated Names
Artists Political Dancers
1864-1901 -
Toulouse Lautrec 1519-1589 - Catherine De Medici 1805- Erfurt Maedel Anna
Neagle
1638-1715 - King Louis XIV 1835 - Dresden Tschutter Mlle. August
1690-1718 - Prince Alexis 1852 - Greitz Buchey
1740S - Princess Augusta (of Saxe-Gotha) 1862 - Paris Cellarius
1762-1830 - Prince George IV
1819-1901 - Queen Victoria
Louis-Phillipe
Duchess of Mecklenburg
Associated Dances
Allemande Courant Passacaglia Square Dance
Ballet Court Dances Polka Tarentella
Barn Dance Danse de Canaries Polonaise Tordion
Basse Danse de Bouffons Rigaudon Varsouvienne
Branle Gigue Round Dance Valse
Contra Danse Galliarde Sarabande Virginia Reel
Counter Dances Gallop Saltarello Voltes
Country Dances Gavotte Spanish Dance Waltz
Various Quadrilles
Caledonians Quadrille Interméde Bal La Tempête -1850 (The Storm) Quadriglia
Calley Polka Quadrille Irish Quadrille Ladies Own Quadrille -1888 Spanish
Quadrille
Coulons Quadrille L'Alternante Polka Mazurka Le Grande Chaine des
Quatredames Surprise Quadrille
Double Moulinette L'Etoile Polka Le Prince Impérial Tin Pan Fancy
Double Pastourelle L'Invitation waltz Le Prisonnier Waltz Varsouvienne
Quadrille
Empire Quadrilles La Badenowitch Le Quadrille des Dames Waltz Quadrille
English Quadrille La Corbeille Le Tourbillon
Gladiateur (Michau) La Nouvelle Trenis Les Varieties Parisiennes
Harlequin Quadrille La Rosace Waltz Orla Pastourelle
Huguenobs Quadrille La Taglioni Palaca Quadrille
Books / Articles
Title Writer date Publisher
Elements in the Art of Dancing Strathy, Alexander 1822 Edinburgh
Dancers Guide and Ballroom Companion Brookes, L.G. 1850 L.G. Brookes
Salon Dances Coulon, Eugene 1873 A. Hammonds
Historic Musicians Singers Bands Various Music Titles
Musard Bosisio - - Robert Bruce
Sapinsky Tolbecque Le Comte de Carmagnol
Jullien Minkne Semiramis
Zolotage Rybka
Basic Steps,
excerpted from L.G. Brookes Book-1850:
First Figure--Le Pantalon.
"The top and bottom couples cross to each other's places in eight steps
(four bars), returning immediately to places, completing the movement of
eight bars. This is called the Chaine Anglaise (i. e., opposite couples
right and left), and in performing it the gentleman should hear in mind
always to keep to the right of the vis-à-vis lady in crossing. Formal
"setting" to partners is gone out; but you may turn your partners (second
eight bars). Here follows "ladies chain" (eight bars more). Each gentleman
takes his partner by the hand and crosses to opposite couple's place (four
bars); this is called in ball-room parlance "half promenade." Couples then
recross right and left to their places without giving hands (another four
bars): which completes the figure. The latter eight bars of this figure are
frequently now danced with the Galop step. The side couples repeat as above.
When there are mere than two couples, either at the top or side, it is
customary observing our rule with regard to "top couple"to alternate the
arrangement in order to give variety to the dance. Thus the lady who is at
the top of the quadrille in her own set finds her vis-à-vis in the adjoining
set occupying that position.
Second Figure--L'Eté.
This figure is generally danced now in the manner known as Double l'Eté. Top
and bottom couples advance and retire (four bars), then changing places with
their vis-à-vis (making eight bars); but omitting to cross over as in the
Chaine Anglaise. Again advance and retire (four bars), back to places, set
to partners, and turn partners. This completes the figure. The side couples
repeat. There are some people who still adhere to the old way of dancing
this figure, so to prevent any confusion it would be well to have an
understanding with your vis-à-vis on the subject before commencing. It is
danced as follows:
All the top ladies and their vis-à-vis gentlemen advance four steps and
retire, then repeat the movement, making the first eight bars. Top ladies
and vis-à-vis gentlemen change places: advance four steps and retire:
re-cross to partners, who set to them as they advance. Turn partners. This
completes the first part of the figure, which is finished by the second
ladies and top vis-à-vis gentlemen going through the same evolutions. The
sides repeat.
Third Figure--La Poule.
Top lady and vis-à-vis gentleman change places; return immediately, giving
the left hand (eight bars) and retaining the grasp, their own partners
falling in on each side, and forming a line, each with their faces different
ways. In this manner, all four balancez quatre en ligne (set four in a
line), half promenade with partner to opposite place; top lady and vis-à-vis
gentleman advance and retire four steps (second eight bars). Both couples
advance together and retire, then cross right and left to places (third
eight bars). Second lady and vis-à-vis gentleman go through the figure. Side
couples repeat.
Fourth Figure--La Pastorale.
Top gentleman takes his partner by left hand: they advance and retreat:
advance again, leaving the lady with vis-à-vis gentleman, and retiring to
his own place. vis-à-vis gentleman now advances four steps and retreats the
same, holding each lady by the left hand; again advancing, he leaves the two
ladies with the top gentleman, who once more advances. They then all join
bands in a circle, go half round, half promenade to opposite places,
returning right and left to their own. Second couples and sides repeat.
The above is the figure mostly in vogue, but occasionally La Trenise is
substituted, so we venture to indicate the figure as follows: The top couple
join bands, advance and retreat four steps. They again advance, and top lady
is then left with vis-à-vis gentleman, her partner retiring to his own place
(first eight bars). Both ladies cross to opposite sides: gentleman advances
to meet his partner, whilst the vis-à-vis lady returns to hers (second eight
bars). Set to partners, and turn partners to places. Second couples and
sides repeat.
Fifth Figure--La Finale.
This figure is usually commenced with the grand rond (great round)--i. e.,
the whole quadrille--tops, bottoms, and sides--join hands, and advance and
retreat four steps. (The old plan of the whole quadrille taking one turn
round the figure in Galop steps is rather gone by, though even now it is
occasionally so danced in some circles.) Each gentleman then takes his lady
as if for a Galop; advance and retreat four steps, then cross to opposite
places. Advance and retreat as before, and return to own places; ladies
chain, concluding with the grand rond. Side couples repeat. Occasionally
L'Eté is introduced, the grand rond being introduced between each division
of the figure. We, however, give the above, as being not only the most
popular, but by far the prettiest and most spirited figure for La Finale."
... end.
"Cherchez vos dames" :)
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----- Original Message -----
From: HistorianCindyA <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, April 29, 2002 7:50 PM
Subject: What is a quadrille?
> What kind of dance was the quadrille? Or is it slang and not really a
dance? (See below)
>
> The Daily News
> Batavia, Genesee Co., NY
> Thursday Evening, April 7 1881.
>
> MERE MENTION.
> --The Cuba News is now engaged in writing up the "nice young men" of that
> place. Their remarks in regard to the boys are unusually sharp.
> --Can you dance the quadrille? My brother Bill can dawnse[sic] the
> quadrille, and goes to the bar and gets his fill, like any other pill--so
be still.
>
>
> --
> Cindy Amrhein
> Town of Alabama Historian
> in Genesee Co., NY
> Experience the Town of Alabama in Genesee County, NY.
> http://www2.pcom.net/cinjod/historian/
> APHNYS (Association of Public Historians of New York State)
> http://www.tier.net/aphnys
>
>
>
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