Descriptive Analyses of Piano Works / For the Use of Teachers, Players, and Music Clubs

by Edward Baxter Perry

And the soul was a stranger to sorrow and pain.

Chopin: Tarantelle, A Flat, Op. 43

Brilliant, effective, and not excessively difficult though it be, this admirably constructed and thoroughly characteristic tarantelle in A flat is but little played; perhaps because it appeals less to the love of the “true Chopinism of Chopin” than most of his compositions, as being out of the recognized Chopin vein, deficient in the special melodic and emotional elements usually distinguishing his works. Nevertheless, considered objectively as a tarantelle, from the standpoint, not of Chopinism, but of what the true tarantelle should be, it is one of the best ever written,—hence one of his masterpieces,—and furnishes another proof of the almost infinite versatility of his creative power, both in style and in mood.

The origin of the tarantelle, as a musical form, is interesting and must be considered in judging the real merit of this or any similar work. The name is derived from that of the tarantula, that venomous denizen of southern climes, of the spider species, whose bite is usually fatal. There is a generally prevalent belief among the peasants of both Spain and Italy, a belief founded, no doubt, upon centuries of experience, that there is but one reliable cure for this poison, and one which Nature herself prescribes and imperatively demands—that of violent and protracted bodily exercise, and the consequent excessively profuse perspiration, enabling the system to throw off the poison through the pores. The idea has the same pathological base as the ancient Arabic cure for hydrophobia, recently revived with great success in this day of resurrection of buried wisdom—an extremely hot and long-continued steam bath.

It is claimed that the victim of the tarantula is seized by a delirious desire, an uncontrollable madness for dancing, which, if fully gratified, in fact encouraged and stimulated to the utmost, may save his life by means of the prosaic but practical process above suggested. So his friends assemble in haste, form a circle on the village green or plaza, strike up the wildest, most furiously rapid and exciting music possible, on any instrument that may be at hand, preferably the mandolin and tambourine, as the most rhythmic and inspiring, and take turns dancing with him, until each is exhausted and gives place to the next, and until the victim recovers or dies of fatigue. The faster the tempo, the more intoxicating the music, the better the purpose will be served, and the greater the hope of a successful cure.

From this crude and primitive germ the modern musical art form, known and used all over the world, has gradually developed, retaining, of course, as must every characteristic dance form, the spirit and fundamental element of the situation and circumstances which gave it birth.

The true tarantelle may be either in a major or minor key, the latter being most common; but it must be wild, stirring, exceedingly rapid, with a strong rhythmic swing and a certain dash and go, irresistibly suggesting the fever of the dance at its most delirious ecstasy. It is always written in six-eight time, which is somewhat singular, as it has none of the usual rhythmic peculiarities of that measure, but invariably produces the impression of twelve-eight, or, perhaps still more strongly, that of four-four with the beats divided into triplets. In fact, this is generally the best method of counting it for the pupil. It should contain no harmonic or technical complexities to distract the attention of either player or listener from the regular rhythmic swing and form and movement of the dance; and the melodic trio, occasionally introduced by some composers, is always an incongruous artistic absurdity, wholly out of place.

Though the musical form is common property of all composers in all lands, the actual dance, as such, is specially identified with southern Spain and Italy, and is rarely used elsewhere. To the tourist one of the most unique and vividly interesting episodes of his sojourn in these localities is the performance of the tarantelle by one of the trained dancing girls, which may be witnessed almost any evening, given with all the dash and verve of the southern temperament, a perfect embodiment of grace and fire and dance frenzy.

This tarantelle by Chopin possesses all the essential characteristics in a high degree, with not a single lapse or irrelevant digression in mood, in form, even in the details of accompaniment. It may be taken as a model of the true tarantelle, spirited, well sustained throughout, and eminently playable.