THE CLASSICAL AND THE MODERN SUITE
No sooner had the Two-and Three-part forms become accepted as definite
means of instrumental expression, than composers were eager to try
their skill in combining dance-movements in such forms into larger
groups. These compositions--known in France as Ordres, in Germany as
Suites and Partitas and in England as Lessons--though all the
movements were in the _same key_, yet showed considerable variety by
reason of the contrast in the dance rhythms. They were, moreover,
simple, direct and easily understood of the people.[70] This
development was furthered by the perfecting of two groups of
instruments: The violins, by the great Italian masters; and those
precursors of our modern pianoforte, the harpsichord, clavichord and
spinet. We find, consequently, the Italians--of whom Corelli was most
prominent--combining these dances into groups called Sonate da Ballo:
and the French composers Couperin and Rameau, developing the
possibilities of keyed stringed instruments in graceful pieces to
which fantastic titles, such as _La Poule_, _Le Rappel des Oiseaux_,
etc., were often given. The greatest master of instrumental style in
these early days was the Italian, Domenico Scarlatti (1685-1757). He
was famous both as composer and performer--the first, in fact, of the
long line of key-board virtuosi--and in his compositions in dance form
and in those of a more abstract type there is a sparkling fancy and an
adjustment of the thought to his instrument, which will keep them
forever immortal.[71]
[Footnote 70: For an interesting and comprehensive account of this
development see Grove's Dictionary, Volume IV, article on the Suite.]
[Footnote 71: For extensive comments on Scarlatti's style see _The
History of the Pianoforte and Pianoforte Players_ by Oscar Bie, pp.
68-90.]
The grouping together of dance forms reached its highest development
through the genius of Sebastian Bach in the so-called _French and
English Suites_.[72] In these compositions--in the Partitas and in the
orchestral Suite in D major, which contains the well-known Aria, often
played in transcription for Violin solo--the dance-forms are not
employed literally but are made a vehicle for the expression of varied
types of human emotion and sentiment. Nor should we overlook the
twelve _Harpsichord Lessons_ of Handel--especially the superb Fugue in
E minor in the Fourth Suite--which are noteworthy for their vigor,
though, in freshness and delicacy of invention, not to be compared
with Bach's.
[Footnote 72: These titles, according to Parry (see his life of Bach,
Chapters IV and XII passim), were not given by Bach himself but were
assigned, in the case of the French Suites, to denote the delicacy of
treatment found therein, and in the English, a certain massive style.]
We now give a tabulated list of the customary dance forms, both as
found in the Classic and the modern Suite or used as independent
pieces; and we shall then analyze those which have the most
characteristic rhythmic pattern.
LIST OF DANCES
_______________________________________________________________________________
NAME | ORIGIN | METER | FORM | CHARACTER
___________|______________|__________|____________|____________________________
Allemande | Suabian | 4/4 | Two-part | Moderately quick;
| | | | flowing, with a rather
| | | | rich harmonic texture.
| | | |
{Courante | French | 3/4, 3/2 | Two-part | Running, lively; the 2/2
{Corrente | Italian | | | type always with a change
| | | | of meter at the cadences.
| | | |
Sarabande | Spanish | 3/2, 3/4 | Two-part | Stately, dignified; often
| | | | noble and even
| | | | dramatically pathetic.
| | | |
Hornpipe | English | 4/4 | Two-part | Rapid, merry, energetic.
| | | |
{Gigue | Italian | 6/8, | Two-part | Very lively, rollicking,
{Jig | giga, an | 12/8, | | even jocose.
| early violin | 4/8 | |
| | | |
Gavotte | French | 4/4, 2/2 | Two-part | Moderately fast;
| | | | well-marked rhythm,
| | | | often stately.
| | | |
Bourree | French | 4/4 | Two-part | Lively, vigorous.
| | | |
Minuet | French | 3/4, 3/8 | Two-part | Moderately fast; dainty,
| | | | graceful, courtly.
| | | |
Passepied | French | 3/4 | Two-part | Light, delicately animated.
| | | |
Loure | French | 6/4, 4/4 | Two-part | Rather slow, stately.
| | | |
Pavane | Italian | 2/4 | Two-part | Solemn, impressive.
| | | |
Galliard | Italian | 3/2, 2/2 | Two-part | Lively, merry.
| | | |
{Branle | French | 4/4, 3/4 | Two-part | Lively, with great abandon.
{Brawl | English | | |
| | | |
Polonaise | Polish | 3/4 | Varied | Dignified and courtly, but
| | | | with life.
| | | |
Mazurka | Polish | 3/4 | Varied | Great range of speed and
| | | | effect; at times sustained
| | | | and pathetic, often
| | | | bright and lively.
| | | |
Polka | Bohemian | 2/4 | Generally | Merry, animated.
| | | three-part |
| | | |
Furiant | Bohemian | 3/4 | Varied | Very lively, even frenzied.
| | | |
Waltz | German | 3/4 | Two-part | Graceful; varied in effect;
| | | or | at times lively, often
| | | three-part | slow.
| | | |
Bolero | Spanish | 3/4 | Three-part | Brisk, well-marked rhythm.
| | | |
Tarantella | Italian | 6/8 | Varied | Very lively, impassioned.
| | | |
Saltarello | Italian | 6/8, 3/4 | Varied | With quick, jumping
| | | | rhythm.
| | | |
Rigaudon | French | 2/4, 4/4 | Varied | Lively, gay.
| | | |
March | Found in | 4/4 | Varied | Stately, with marked
| every nation | | | rhythm.
| | | |
Csardas | Hungarian | 3/4, 2/4 | Varied | Impassioned; with great
| | | | variety of effect.
| | | |
Halling | Scandinavian | 2/4 | Varied | Fresh, vigorous,
| | | | out-of-doors atmosphere.
| | | |
Tango | Mexican | Varied | Varied | With reckless abandon.
| | | |
Habanera | Spanish | 2/4 | Varied | Graceful; with
| | | | characteristic rhythm.
| | | |
Seguidilla | Spanish | 3/4, 3/8 | Varied | Fantastic; sometimes
| | | | stately, sometimes gay
| | | | and lively.
| | | |
{Jota, | Spanish | 3/4 | Free | A kind of waltz, but with
{often | | | | more freedom in the
{Jota | | | | dancing, and of a vigorous
{Aragonesa | | | | and fiery nature.
| | | |
| | | |
Malaguena | Spanish | 3/8 | In couplet | A dance of moderate
| | | form | movement, accompanied by
| | | | guitar and castanets;
| | | | languorous and sensual in
| | | | mood.
| | | |
Siciliano | Sicilian | 6/8, | Two-part, | Graceful; of a Pastorale
| | 12/8 | three-part,| nature.
| | | often a |
| | | Rondo |
___________|______________|__________|____________|____________________________
The four indispensable movements of the classic or 18th century Suite
were the Allemande, the Courante, the Sarabande and the Gigue; and,
between the last two, it became customary to insert an optional number
of other dances--the most usual being the Gavotte, Bourree, Minuet and
Passepied. In effect, the Suite was a kind of "international
Potpourri" of the dances most in vogue, and affords us a vivid
reflection of the manners and customs of the period. Many of the
English Suites begin with an elaborate polyphonic Prelude. We shall
not give a detailed analysis of all these dance movements; for the
main characteristics the tabulated list will suffice, and in the book
of Supplementary examples (see No. 35) will be found the 6th French
Suite complete. It will be more useful to center attention on those
dances which, in rhythmic pattern, are especially typical and are most
frequently employed in modern music; and we shall select, as examples
drawn from various sources, those dances which make a direct appeal.
The most characteristic of the dances are the Sarabande, the Gavotte,
the Minuet and the Gigue; and with the last, as exemplifying the same
spirit, may be grouped the Rigaudon, Furiant, Tarantella and
Saltarello.
The Sarabande is a slow, stately dance; always in triple meter
indicated by 3/2 or 3/4. Its striking features are the frequent
occurrence of the rhythmic pattern
[Music] or [Music]
in which it is evident that there is a strong accent on the weak
beats; and the prevalence of feminine endings in the cadences. The
Sarabande always displays great depth of emotion--often of a tragic
and impassioned kind; and, in the Suite, seems to have served the
composer for the same outpouring of feeling which we associate with
the slow movement in the later Sonata or Symphony. The example cited
in the Supplement (See No. 28)--taken from one of Bach's Sonatas for
'cello--is considered one of the most beautiful in existence. Other
eloquent Sarabandes may be found in the Second and Third English
Suites and in Handel's noble Air "Lascia ch'io pianga" from the opera
of _Rinaldo_. Two fine modern examples of this dance are the second
number in Paderewski's _Humoresques de Concert_, op. 14, and the
second number in the set of pieces by Debussy, _Pour le
Piano_--_Prelude_, _Sarabande_, _Toccata_. Composers sometimes employ
the Sarabande rhythm for its inherent beauty, or for dramatic purposes
without indication of the fact. Examples are the theme for variations
in Beethoven's Sonata, op. 109, and the opening measures of the
_Egmont Overture_ where, by means of the characteristic Spanish
dance-rhythm, an atmosphere of oppression and dejection is
established, _e.g._
[Music]
The Gavotte is an energetic yet dignified dance in duple rhythm (it is
almost always played too fast)--the characteristics of which are its
beginning on the half-measure and its strongly marked cadences. One of
the most stirring examples is that cited from the Third English Suite
(See Supplement No. 29) which, with its subdued middle portion, La
Musette,[73] is an early example of tripartite arrangement. Other
gavottes[74] are the favorite one from the Fifth French Suite, that
from Handel's opera _Ottone_ (so often played in organ or pianoforte
transcriptions) and, from modern literature, the charming one in
d'Albert's _Suite for Pianoforte_, op. 1.
[Footnote 73: So-called because it is written on a sustained bass note
or pedal point; a feature of the Musette (the French name for Bagpipe)
being its persistent drone bass on the tonic and the dominant.]
[Footnote 74: An interesting example may also be found in Grieg's
_Holberg Suite for Pianoforte_.]
The Minuet is of particular interest, not alone because of the many
beautiful examples of its use but because it is the only dance which,
carried over from the Suite, has remained an integral movement of
Symphonic compositions. The Minuet, in its older form, was a stately
dance; the derivation of the term (French menu) referring to the
dainty steps of the dancers, always in 3/8 or 3/4 metre and beginning
on the first beat of the measure. By Haydn the character of the Minuet
was considerably changed; the tempo becomes much faster, the music
begins on the third beat of the measure instead of the first and the
mood is one of playful humor--at times even of downright jollity. In
the Minuets of Mozart the peculiar characteristics are grace and
tenderness rather than rollicking fun, _e.g._, the charming examples
in the E-flat major and G minor Symphonies. Concerning the
transformation by Beethoven of the Minuet into the Scherzo, with its
fantastic and freakish atmosphere, we shall speak more fully in
connection with his Symphonies. Of the examples cited in the
Supplement (see Nos. 30 and 31) the former, from the first Finale of
Mozart's opera _Don Giovanni_, remains one of the most famous minuets
in existence; and the two from Rameau's opera, _Castor and Pollux_,
are of inimitable spontaneity and rhythmic grace. They are grouped in
contrasting, tripartite arrangement. In modern literature every one
knows of the melodious example for Pianoforte by Paderewski (No. 1 of
the _Humoresques de Concert_) and the _Menuet Italien_ by Mrs. Beach;
that in the last scene of Verdi's _Falstaff_ is also well worth
acquaintance.
The last of the particularly characteristic dances is the Gigue with
its counterparts mentioned above. This is a rapid, animated dance in
6/8, 3/8, 12/8, 12/16 (sometimes 4/4) with marked rhythm; the term
being derived from giga (German, geige)--an early name for fiddle--on
account of the power of accent associated with the violin family. The
Gigue is always the closing number of Bach's Suites, in order to give
a final impression of irrepressible vitality and gaiety, and is
treated with considerable polyphonic complexity; in fact, his gigues
often begin like a complete Fugue. They are all in clear-cut Two-part
form; and it became the convention for the second part to treat the
motive in _inverted_ form. The example cited from Bach's Fifth French
Suite (see Supplement No. 32) is unsurpassed for rhythmic energy; the
closing measures sound as if all the bells of heaven were ringing. The
example of Mozart (see Supplement No. 33) is noteworthy for its daring
use of the dissonant element and for its free modulations. Of the
counterparts of the gigue the following are excellent examples: The
Rigaudon--the Finale of Grieg's _Holberg Suite_, the vigorous one from
Rameau's opera _Dardanus_, and MacDowell's independent piece in this
form, op. 49, No. 2; the Furiant--the Finale of Dvo[vr]ak's _Suite for
Small Orchestra_, op. 30 (accessible in an effective pianoforte
arrangement for four hands); the _Tarantelle_--Chopin's independent
piece in this rhythm, op. 43, and the brilliant Finale of
Rheinberger's Pianoforte Sonata for four hands, op. 122; the
Saltarello--the last movement of Mendelssohn's _Italian Symphony_ and
the main portion of Berlioz's _Carnaval Romain Overture_. One
additional example is cited (see Supplement No. 34), a Courante by D.
Scarlatti, to give an example of his pianoforte style. In connection
with these dances, especially the Sarabande, Gavotte, Loure, Pavane,
Polonaise and Tarantelle, there should be read the articles treating
of each dance in Grove's Dictionary; for these dances are so closely
connected with human activity that a knowledge of their development
broadens our horizon in many matters pertaining to social life and
civilization in general. As to specific examples of the less usual
dances, many of the quaintest are found in the works of the early
English composers: Byrd, Bull, etc., in the Fitzwilliam Virginal Book,
_e.g._, _The Lord of Salisbury his Pavan_. An excellent example of the
Loure is the well-known arrangement from Bach's third 'Cello sonata.
Chopin, in his works, has glorified both the Polonaise and the
Mazurka; Bizet, in his opera Carmen, has used the Habanera and the
Seguidilla, and there is a wonderful use of the Habanera rhythm in
Debussy's descriptive piece _Soiree dans Grenade_. The French composer
Ravel in his pianoforte piece _Pavane pour un enfant defunt_ has used
with remarkable effect the stately rhythm of that dance. The Spanish
composers, Albeniz and Granados, frequently employ national dance
rhythms in their pieces. The French composer Chabrier's _Bourree
Fantasque_ is a dazzling modernization of the old form; and his
_Espana_ for full orchestra fairly intoxicates us with its dashing
rhythms based upon the Jota and the Malaguena.[75] Debussy's
well-known piece _Hommage a Rameau_ is in the style of the Sarabande.
The allusions in literature to these dances are so frequent that only
a few can be cited. The very spirit of the Jig is given in Pope's line
"Make the soul dance upon a jig to Heaven." In speaking of the antics
of Sir Andrew Aguecheek in Twelfth Night, Shakespeare remarks--"I did
think by the excellent constitution of thy leg that it was formed
under the star of a Galliard." One of the most remarkable works of the
English composer John Dowland (born 1562) is entitled _Lachrymae, or
Seven Teares, figured in seven passionate Pavans_.
[Footnote 75: For a vivid description of these dances see Chabrier's
_Lettres a Nanette_, Paris, 1910.]
The Suite, by reason of its freedom in combining different rhythms and
moods, has appealed vividly to modern composers; and the literature of
our times contains a number of Suites which should be known to the
music-lover. In these modern Suites no attempt is made to conform to
the old conventional grouping of dances. The movements are in
different keys, are often based on rhythms of an exotic or
ultra-nationalistic type--as in Tchaikowsky and Dvo[vr]ak, or may
employ any material suggested by the fantastic imagination of the
composer--as in Debussy and Ravel. Among the most attractive modern
Suites may be cited: The _Peer Gynt_ (put together from incidental
music to Ibsen's play) and the _Holberg_ by Grieg; the two
_L'Arlesienne Suites_ by Bizet (written to illustrate Daudet's
romantic story)--the first, with its dainty Minuet and brilliant
Carillons (Peal of bells); Dvo[vr]ak's _Suite for Small Orchestra_,
op. 39, with its sprightly Polka and impassioned Furiant;
Tchaikowsky's five Orchestral Suites of which the best known are the
_Casse-Noisette_ with its exotic rhythms and novel orchestral effects,
the _Mozartiana_ and the third which closes with a brilliant
Polonaise; Brahms's _Serenades_ for orchestra; Charpentier's
_Impressions of Italy_ in which there is an effective use of Italian
rhythm and color; MacDowell's _Indian Suite_, with several of the
themes based on native tunes; the fascinating orchestral Suite
_Adventures in a Perambulator_ by John Alden Carpenter; Arthur
Whiting's _Suite Moderne_ for pianoforte; _Stevensoniana_, (based on
stanzas from Stevenson's _Child's Garden of Verses_) an orchestral
Suite in four movements by Edward B. Hill; Debussy's _Suite
Bergamasque_ in which is found the oft-played _Clair de Lune_;
Ravel's[76] _Mother Goose_, a delightful work--and by the same
composer the _Daphnis and Chloe_ Suite, the material drawn from an
opera of the same name. In modern literature easily the most
celebrated and brilliant example of this type is the _Scheherazade
Suite_ (based on the Arabian Nights) for full orchestra by
Rimsky-Korsakoff. This work in the genuine poetic quality of its
themes, in its marvellous descriptive power and in the boldness of its
orchestral effect remains unsurpassed.
[Footnote 76: See also _Le Tombeau de Couperin_ in which is a very
novel Rigaudon.]