J O D I E B L AC KS H AW ’ S
T E RP S IC H OR EA N DAN CES
�
by DR. KEITH KINDER
erpsichorean
Dances
by
(“The Lute Player”) and Der Schutzenkönig (“The
Australian composer, Jodie
Archer King”). All three are developed to con-
Blackshaw, was a winning
siderable length and are preceded by a fanfare
entry in the inaugural Frank
based on motives extracted from the tunes or
Ticheli Composition Contest spon-
from the counterpoint that surrounds
sored by Manhattan Beach Music. As
them.
is apparent from the title, this work
Blackshaw’s setting presents sev-
draws on the extensive collection of
eral
instrumental dance tunes published by
Throughout the score, directions
Michael Praetorius in 1612 known as
such as “defiantly”, “clingingly”,
Terpsichore. Three tunes are specifi-
“reedy” and “to the fore” recall simi-
cally named in the score: Springtanz
lar instructions in the band music of
(“Leaping Dance”), Der Lautenspieler
Percy Grainger, and Blackshaw also
M a 20 TIMES MBM
n h a t t a n
B e a c h
“Australian”
characteristics.
M u s i c