Question

Each suite in Schein’s Banchetto musicale begins with this dance and ends with the newer allemande. Joan Ambrosio Dalza paired five of these dances with a saltarello and a piva. Ben Jonson wrote “Hear me, O God” for Alfonso Ferrabosco the Younger’s “four-note” one. This elegant dance was usually followed by a hopping afterdance sometimes called the cinquepace (“SINK-uh-pace”). In My Ladye Nevells Booke, this dance is often followed by a piece whose title ends with “to the same.” A piece (15[1])originally in this AABBCC (15[1])form opens with a G minor chord and a four-note (*) “falling tear” motif. (10[1])The faster triple-time galliard (“GAL-yerd”) was danced after (10[1])this stately duple-time dance from northern Italy. John Dowland’s air (10[1])“Flow, my tears” was adapted from a lute piece written as one of these dances titled “Lachrimae.” For 10 points, what dance titles Fauré’s Opus 50 in F-sharp minor, (10[2]-5[2])which inspired one “for a Dead (10[1])Princess” (10[3])by Ravel? (10[1])■END■

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