THE PASSAMEZZO GALLIARD.
(Vol. vi., p. 311.)
The passage quoted by Mr. Forbes from Richard Ligon's History of Barbadoes, in illustration of a scene in the 2nd Part of King Henry IV., was pointed out by Sir John Hawkins in his History of Music (Vol. iii. p. 383., note).
For "passame sares galiard," as it stands in Ligon, we should read "passamezzo galliard." Sir John Hawkins derives passamezzo from passer, to walk, and mezzo, the middle or half. The term is variously corrupted by the English poets and dramatists,—passy-measure, passa-measure, passing-measure, &c. Douce, in his valuable Illustrations of Shakspeare (edit. 1839, p. 72.), has the following passage on the subject:
"Florio, in his Italian Dictionary, 1598, has passamezzo, a passameasure in dancing, a cinque pace; and although the English word is corrupt, the other contributes a part, at least, of the figure of this dance, which is said to have consisted in making several steps round the ball-room, and then crossing it in the middle. Brantôme calls it 'le pazzameno d'Italie,' and it appears to have been more particularly used by the Venetians. It was much in vogue with us during Shakspeare's time, as well as the pavan; and both were imported either from France, Spain, or Italy. In a book of instructions for the lute, translated from the French by J. Alford, 1568, 4to., there are two passameze tunes printed in letters according to the lute notation."
The passamezzo was sometimes sung as well as danced. Morley, in his Introduction to Practicall Musicke, 1597, has an interesting passage bearing on the point, which has been overlooked by modern writers:
"There is likewise a kind of songs (which I had almost forgotten) called Justinianas, and are all written in the Bergamasca language. A wanton and rude kinde of musicke it is, and like enough to carrie the name of some notable curtisan of the citie of Bergama; for no man will deny that Justiniana is the name of a woman. There be also manie other kinds of songs which the Italians make; as pastorellas and passamesos, with a dittie, and such like, which it would be both tedious and superfluous to dilate unto you in words; therefore I will leave to speak any more of them, and begin to declare unto you those kinds which they make without ditties."
Mr. Forbes asks, "Is the tune of the galliard known?" I know at least a hundred different galliard tunes. They are distinguished by appellations which seem to indicate their being the
favourites of particular persons, as in these instances:—"The King of Denmark's Galliard," "The Earl of Essex's Galliard," "Sir John Souch his Galliard," "Sir Henry Noell his Galliard," &c.—See Douland's Lachrymæ, or Seaven Tears, 1603.
The galliard is a lively air in triple time: Brossard intimates that it is the same with the Romanesca, a favourite dance with the Italians. It is graphically described in Burton's Anatomy of Melancholy:
"Let them take their pleasures, young men and maides flourishing in their age, fair and lovely to behold, well attired, and of comely carriage, dauncing a Greek galliarde, and, as their dance required, kept their time, now turning, now tracing, now apart, now altogether, now a curtesie, then a caper, &c., that it was a pleasant sight."
Christopher Sympson, in his Compendium of Practical Musick (ed. 1678, p. 116.), says:
"A pavan doth commonly consist of three strains, each strain to be play'd twice over.... Next in course after a pavan follows a galliard, consisting sometimes of two, and sometimes of three strains."
Specimens of the passamezzo pavan and galliard may be found in Queen Elizabeth's Virginal Book, in the Fitzwilliam Museum, Cambridge. One is dated 1592. Others may be found in the Public Library, Cambridge (MS. marked "D. d. 3, 18.") Also in two rare printed books,—Robinson's School of Musick, fol. 1603; and Neder-landtsche Gedenck-clanck, Haerlem, 1626. The latter work contains the "Passamezzo d'Anvers."
Edward F. Rimbault.