Grove's dictionary of music and musicians

'
'
DICTIONARY
OF
MUSIC AND MUSICIANS
QUADRILLE (German Contretans),
Q
a dance
Le pantalon
De Madelon
executed by an equal number of couples
N'a pas de fond,
drawn up in a square. The name (which is
and was adapted to the dance. The music
derived from the Italian sqimdra) was originally
consists of 32 bars in 6-8 time. No. 2 is
not solely applied to dances, but was used to
' L'Ete,' the name of a very diflioult and graceful
denote a small company or squadron of horsemen,
from three to fifteen in number, magnificently
mounted and caparisoned to take part
' Poule ' (32 bars in 6-8 time) which dates from
' contredanse ' popular in the year 1800 ;
it
consists of 32 bars in 2-4 time. No. 3 is La
in a tournament or carousal. The name was
the year 1802. For No. 4 (32 bars in 2-4 time)
next given to four, six, eight, or twelve dancers,
two figures are danced, 'La Tr6nise,' named
dressed alike, who danced in one or more companies
in the elaborate French ballets ' of the
' Pastourelle,' perhaps a survival of the old
after the celebrated dancer Trenitz, and La
18th century. The introduction of ' oontredanses
' Into the ballet, which first took place
'Pastorale.' No. 5— 'Finale'—consists of three
parts repeated four times. In all these figures
in the fifth act of Eousseau's ' FStes de Polymnie
(except the Finale, which sometimes ends with
(1745), and the consequent popularity of these
a coda) the dance begins at the ninth bar of the
dances, are the origin of the dance which, at
music, the first eight bars being repeated at the
first known as the ' Quadrille de Contredarises,'
end bywayof conclusion. Themusic of quadrilles
was soon abbreviated into ' quadrille.' [The use
is scarcely ever original ; operatic and popular
of the Spanish equivalent, cuadrilla, for the
tunes are strung together, and even the works
party of four banderilleros associated with each
of the great composers are sometimes made use
torero in a bull-fight, and the familiar name of
of.^ The quadrilles of Musard are almost the
a card -game once very popular, may be mentioned.]
The quadrille was settled in its pre-
only exception ; they may lay claim to some
recognition as graceful original musical commons,
w. B. s.
sent shape at the beginning of the 19th century,
and it has undergone but little change, save
QUAGLIATI, Paolo, born about 1560, was
in the simplification of its steps. It was very
a musician living In Rome, who in 1608 is indicated
as holding the position of organist at the
popular in Paris during the Consulate and the
first Empire, and after the fall of Napoleon was
Liberian Basilica of Santa Maria Maggiore. In
brought to England by Lady Jersey, who in
1585 he edited acoUection of Spiritual Canzonets
1815 danced it for the first time at Almaek's"
for three voices, containing, besides sixteen
with Lady Harriet Butler, Lady Susan Ryde,
numbers by himself, some contributions by
Miss Montgomery, Count St. Aldegonde, Mr.
Marenzio, Nanino, and Giovanelli. His other
Montgomery, Mr. Montague, and Mr. Standish.
publications before 1600 consist of two books
The English took it up with the same eagerness
of Secular Canzonets a 3. Two Canzonets a 4
which they displayed with regard to the polka
with cembalo and lute accompaniment appear
in 1845, and the caricatures of the period
in Verovio's collection of 1591, which has been
abound with amusing illustrations of the quadrille
mania. It became popular in Berlin in
recently republished complete by Alfred Wotquenne.
After 1 600 he appears to have followed
1821.
with interest the twofold direction in music
The quadrille consists of five distinct parts,
emanating from Florence and Venice respectively,
which bear the name of the ' contredanses ' to
the Florentine Stile rappresentativo for solo
which they owe their origin. No. 1 is Le
' voices, and the Venetian concerted style with
Pantalon,' the name of which is derived from a
a
song which began as follows :
Some readers may recollect the clever 'Bologna QuadriUes'
on themes from Bossini's 'Stabat Mater,' which were published
shortly after the appearance of that work. The plates of these
t The Balleta were divided into fire acts, each act into three, six, qnadriUes were destroyed on the publishers learning the source
nine, or twelve entr^,* and each ' ' entree was performed by one or from which the author (popularly supposed to be J. W. Davison)
more '
'quadriUes' of dancers,
had obtained the melodies. [Hans von BUlow wrote a set of quadriUes
on airs from Berlioz's Benvenuto OeUinl,']
' 3 See Captain Oronow's Sfftnintxc&ncet (1861).
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