Sarabande

The Jesuit priest Juan de Mariana thought it indecent, describing it in his Tratato contra los juegos públicos (Treatise Against Public Amusements, 1609) as "a dance and song so loose in its words and so ugly in its motions that it is enough to excite bad emotions in even very decent people".

[5] A character in an entremés by Cervantes alluded to the dance's notoriety by saying that hell was its "birthplace and breeding place" (in Spanish: origen y principio).

The anonymous harmonic sequence known as La Folia appears in pieces of various types, mainly dances, by dozens of composers from the time of Mudarra (1546) and Corelli through to the present day,[9] custom perhaps influenced by its Spanish origin.

The theme of the fourth-movement Sarabande of Handel's Keyboard suite in D minor (HWV 437) for harpsichord, one of these many pieces, appears prominently in the film Barry Lyndon.

135 of 1847), Norwegian composer Edvard Grieg (in his Holberg Suite of 1884), French composers such as Debussy and Satie, and in England, in different styles, Vaughan Williams (in Job: A Masque for Dancing), Benjamin Britten (in the Simple Symphony), Herbert Howells (in Six Pieces for Organ: Saraband for the Morning of Easter), and Carlos Chávez in the ballet La hija de Cólquide.