We've been rehearsing hard for the last few weeks. For the next few, we'll be revisiting dances we used to know well but haven't tried for some time, and brushing them up for the ball.
Present: Katherina Weyssin, William de Cameron, Anna de Wilde, Katherine of Glastonbury, Caterine de Vantier.
Tonight we did:
- Contentezza d'Amore
- Anello - Note to us all: only the men do the final riprese.
- La Figlia de Guglielmina - After dancing it to the familiar music on Eschewynge of Ydelnesse, we tried it to the rather more difficult recording on Forse che si, forse che non. That recording has defeated us in the past, but we found it entirely danceable last night. Note: the transition to bassadanza happens a little later - the two sempii changing places, and the riverenza, are within the initial quadernaria section.
- Il Conto del Orco - We've done this very rarely in the last few years. Our current preference is to do the trangi going forwards.
- Lionvello Vecchio (for two) - It turns out we all know this better than we'd thought.
- Lioncello Novo (for three) - I should check the texts, and decide on a standard direction for the turns.
- Triory
- New Almain
I've asked each of the more experienced dancers to brush up a couple of simpler dances, so they can call them at the ball, if requiered.
Volunteers so far:
- Caterine - Ly Bens Distonys, Scots branles
- Anna - Anello, Prenes on Gre, Black Almain
- William - Contentezza d'Amore, Amoroso, Rostiboli Gioioso