From the choreographer’s combined score to the author’s musical work: Dancemania by Pierre Gardel and Étienne Méhul

Abstract

The article is devoted to the consideration of the musical and dramatic features of the score of the comedy pantomime ballet Dancemania, a performance staged by choreographer Pierre Gardel to the music of Étienne Méhul in 1800 at the Paris Opera. The duality of perspectives on the musical consideration of Dancemania is noted: a) as a sphere of manifestation of the choreographer’s musical experiences - selection of music for the ballet score, participation in the performance as a violinist; b) as a new area that expands the creative range, revealing new facets of E. Méhul’s talent – vocal, by type of giftedness, composer, author of operas and revolutionary songs. The main directions of the genre priorities of P. Gardel’s creativity during the period of social and political transformations of the French Revolution of 1789–1799 are covered. Special techniques of musical dramaturgy are identified, used in the joint work of the composer and choreographer on the selection of music: the inclusion of fragments of J. Haydn’s symphonies in the score of “The Judgment of Paris”, the use of quotes in Dancemania.
The circumstances determined by the influence of the ballet tradition are revealed, which complicated the establishment of the authorship of Méhul’s ballet scores. The genre and dramaturgical features of the musical text of Dancemania are explored: musical techniques aimed at supporting and illustrating pantomimic action are noted (the use of repeating motifs, building a structural and compositional solution in accordance with the unfolding of the action). The special dramatic role of the quotation (the melody of “Gavotte de Vestris”) is noted, helping to “clarify” the central point of the plot. The role of E. Méhul is revealed as the founder of the tradition of creating an original ballet score with the inclusion of borrowings from works of theater and dance music, which was later supported by Méhul’s apprentice and follower, Ferdinand Hérold.