Music History Monday: Boogie Fever

Music History Monday: Boogie Fever

Author: Robert Greenberg June 24, 2024 Duration: 11:58
One sort of Boogie Fever: Vladimir Horowitz (1903-1989) cuttin’ the rug at New York’s Studio 54, circa 1978
One sort of Boogie Fever: Vladimir Horowitz (1903-1989) cuttin’ the rug at New York’s Studio 54, circa 1978

On June 24, 1374 – 650 years ago today – the men, women, and children of the Rhineland city of Aachen began to dash out of their houses and into the streets, where – inexplicably, compulsively, and uncontrollably – they began to twist and twirl, jump and shake, writhe and twitch until they dropped from exhaustion or, in some cases, just plain dropped dead.  It was a real-life disco inferno, true boogie-fever stuff: the first (but not the last) major occurrence of what would come to be known as the “dancing plague (or mania)” or “choreomania,” which soon enough spread across Europe.

There had been small outbreaks of the “dancing plague” before, going back as far as the seventh century.  An outbreak in the thirteenth century – in 1237 – saw a group of children jump and dance all the way from Erfurt to Arnstadt in what today is central Germany, a distance of some 13 miles. It was an event that is believed to have inspired the legend of the Pied Piper of Hamelin.

But the outbreak in Aachen 650 years ago today was big.  Before it was over, thousands upon thousands of men, women, and children had taken to the streets as the “dancing plague” spread from the western German cities of Aachen, Cologne, Metz, and Stuttgart; to the Belgian cities of Hainaut, Utrecht, Tongeren; then across France, the Netherlands, and finally, back into Germany!

Another sort of Boogie Fever. The authorities typically had music played during outbreaks of dancing plague, as it was believed to somehow “cure” the mania; painting by Pieter Brueghel the Younger (1564-1638), after drawings by his father
Another sort of Boogie Fever. The authorities typically had music played during outbreaks of dancing plague, as it was believed to somehow “cure” the mania; painting by Pieter Brueghel the Younger (1564-1638), after drawings by his father.

This gigantic outbreak came to be referred to as “St. John’s Dance,” though at other times and in other places it was called “St. Vitus’ Dance.”  (These names were coined based on the assumption that the dancing plague was the result of a curse cast by either St. John the Baptist or St. Vitus, St. John having been beheaded by Herod Antipas between 28 and 36 CE and St. Vitus martyred in 303 during the persecution of Christians by the co-ruling Roman Emperors Diocletian and Maximian.) 

Writing in his book The Black Death and the Dancing Mania, the German physician and medical writer Justus Friedrich Karl Hecker (1795-1850) describes St. John’s Dance this way:

“They formed circles hand in hand and appearing to have lost all control over their senses, continued dancing, regardless of the bystanders, for hours together, in wild delirium, until at length they fell to the ground in a state of exhaustion. They then complained of extreme oppression, and groaned as if in the agonies of death, until they were swathed in cloths bound tightly round their waists, upon which they again recovered, and remained free from complaint until the next attack.”…

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Every week, Music History Monday arrives with the kind of curiosity that turns dates on a calendar into doorways. Hosted by composer and historian Robert Greenberg, this podcast digs into the stories that happened *around* the music, finding the human moments-sometimes profound, sometimes scandalous, always fascinating-tied to a specific Monday. Greenberg approaches his subjects not as distant icons but as the complicated, brilliant, and often messy people they were, which makes each episode feel like a conversation rather than a lecture. You’ll hear about pivotal premieres, bitter rivalries, unexpected inspirations, and the sheer luck or misfortune that shaped the pieces we know today. The tone is erudite but never dry, packed with context and delivered with a wit that respects the art without putting it on a sterile pedestal. It’s for anyone who loves a good story and suspects that the history behind a symphony or a sonata is just as compelling as the notes themselves. Tune in each Monday with Robert Greenberg to connect the dots between a day in history and the soundtrack it inspired.
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