CHAPTER VI

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. | | | | Bourrée | 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. | | | | Boléro | 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. | | | | Csárdás | 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. | | | | Habañera | 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. | | | | | | | | Malagueña | 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, Bourrée, 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

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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_--_Prélude_, _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]ák'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 Habañera and the Seguidilla, and there is a wonderful use of the Habañera rhythm in Debussy's descriptive piece _Soirée 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 _Bourrée Fantasque_ is a dazzling modernization of the old form; and his _España_ for full orchestra fairly intoxicates us with its dashing rhythms based upon the Jota and the Malagueña.[75] Debussy's well-known piece _Hommage à 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 à 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]ák, 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'Arlésienne Suites_ by Bizet (written to illustrate Daudet's romantic story)--the first, with its dainty Minuet and brilliant Carillons (Peal of bells); Dvo[vr]ák'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.]