(from Latin currere, “to run”) Court dance of the 16th century, fashionable in European ballrooms into the 18th century. It was originally performed with small back-and-forth springing steps, which later became stately glides. Danced to music in quick triple time, the courante followed the allemande and later became part of the musical suite.
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Courante literally means running, and in the later Renaissance the courante was danced with fast running and jumping steps, as described by Thoinot Arbeau. These steps are sometimes thought to be broken up by hops between the steps, but this is not necessarily supported by Arbeau's confusing and contradictory instructions, which described each "saut" as resulting in the completion of a new foot placement.
In Der Vollkommene Capellmeister (Hamburg, 1739), Johann Mattheson wrote that, "The motion of a courante is chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this melody: clearly music on which hopes are built.
The courante was most commonly used in the baroque period. During this period, there were two types of courante: French and Italian. The French type had many cross-accents and was a moderately fast dance, in contrast to the allemande that preceded it. The Italian courante was faster, more free-flowing and running, however, it is not clear whether this is significantly different from the French Renaissance courante that Arbeau describes. In a Baroque dance suite, an Italian or French courante typically comes between the allemande and the sarabande, making it the second or third movement. The French type is usually notated in 3/2 or 6/4, occasionally alternating between the two meters, and is typically performed at a fairly moderate tempo; the Italian type, on the other hand, is a significantly faster dance. In the Musicalisches Lexicon (Leipzig, 1732), Johann Gottfried Walther wrote that the rhythm of the courante is "absolutely the most serious one can find.
Violin Sonatas: in a; in B[musical flat]; No. 4 in D; No. 5 in c. Ciaccona in A. Gigue for solo violin, "Pfefferstossl." Sonatina in g. Allemande. Courante e variatio. Sarabande e variatio. Gigue/ Toccata tertii toni.2/ Theorbo Sonata No. 2(1)
Jul 01, 2008; SCHMELZER Violin Sonatas: in a; in B[musical flat]; No. 4 in D; No. 5 in c. Ciaccona in A. Gigue for solo violin,...
Suonate À Doi, Violino & Violadagamba, Con Cembalo, Opera Prima/ suonate À Due, Violino et Violadagamba Con Cembalo, Opera secunda/ Pièces En Trio Pour Les Flutes, Violon, & Dessus De viole/ Clavier Uebung Bestehend Im Praeludio, Fuga, Allemande, Courante, Sarabande Und Gigue/ Harmonice Musices Odhecaton A/ Six Solos for a Violoncello with a Thorough Bass for the Harpsichord, Opera IX/ Six Sonatas for Violoncello and Keyboard, Opp. 9
Jun 01, 2004; Dieterich Buxtehude. VII. suonatc a do i, violino & violadagamba, con cembalo, opera prima. Edited by Eva Linfield. (Critical...
Arias: in C, BuxWV 246; in a, BuxWV 249; in d, BuxWV 248. Rofilis. Suites: in e, BuxWV 236; in F, BuxWV 239; in a, BuxWV 244; in C, BuxWV 227; in G, BuxWV 240; in e, BuxWV 237; in g, BuxWV 241; in C, BWV 229. Canzonas: in d, BuxWV 168; in C, BuxWV 166. Toccata in G, BuxWV 165. Courante in d, BuxWV Anhang 6
Sep 01, 2008; BUXTEHUDE Arias: in C, BuxWV 246; in a, BuxWV 249; in d, BuxWV 248. Rofilis. Suites: in e, BuxWV 236; in F, BuxWV 239; in a,...