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.