Part 8 (1/2)
| | | | Saltarello | Italian | 6/8, 3/4 | Varied | With quick, juaudon | French | 2/4, 4/4 | Varied | Lively, gay
| | | | March | Found in | 4/4 | Varied | Stately, with marked | every nation | | | rhytharian | 3/4, 2/4 | Varied | Ireat || | | variety of effect
| | | | Halling | Scandinavian | 2/4 | Varied | Fresh, vigorous, | | | | out-of-doors ato | Mexican | Varied | Varied | With reckless abandon
| | | | Habanera | Spanish | 2/4 | Varied | Graceful; with | | | | characteristic rhythuidilla | Spanish | 3/4, 3/8 | Varied | Fantastic; soay | | | | and lively
| | | | {Jota, | Spanish | 3/4 | Free | A kind of waltz, but with {often | | | | orous {Aragonesa | | | | and fiery nature
| | | | | | | | Malaguena | Spanish | 3/8 | In couplet | A dance of uitar 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 Alleue; and, between the last two, it became customary to insert an optional nu the Gavotte, Bourree, Minuet and Passepied In effect, the Suite was a kind of ”international Potpourri” of the dances ue, and affords us a vivid reflection of the lish 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 exeaudon, Furiant, Tarantella and Saltarello
The Sarabande is a slow, stately dance; always in triplefeatures 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 fes in the cadences The Sarabande always displays great depth of eic and impassioned kind; and, in the Suite, see 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 lish 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 mont Overture_ where, by means of the characteristic Spanish dance-rhythm, an at_
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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-lyexalish Suite (See Supplement No 29) which, with its subdued middle portion, La Musette,[73] is an early exaavottes[74] are the favorite one from the Fifth French Suite, that froan or pianoforte transcriptions) and, fro 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 na its persistent drone bass on the tonic and the do exa 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 froral movement of Symphonic compositions The Minuet, in its older form, was a stately dance; the derivation of the ter to the dainty steps of the dancers, always in 3/8 or 3/4on the first beat of the measure By Haydn the character of the Minuet was considerably changed; the teins on the third beat of the measure instead of the first and the ht jollity In the Minuets of Mozart the peculiar characteristics are grace and tenderness rather than rollicking fun, _eg_, the char exa 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 inirouped 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 orth 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 (soiga (Gere)--an early name for fiddle--on account of the power of accent associated with the violin fa nuive a final iaiety, and is treated with considerable polyphonic coue 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 SuppleThe example of Mozart (see Supple use of the dissonant element and for its freeare excellent exa 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 rhyther'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 Suppleive 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 hue of their develop to social life and civilization in general As to specific examples of the less usual dances, lish coinal Book, _eg_, _The Lord of Salisbury his Pavan_ An excellent exaement from Bach's third 'Cello sonata
Chopin, in his works, has glorified both the Polonaise and the Mazurka; Bizet, in his opera Caruidilla, 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 co modernization of the old form; and his _Espana_ for full orchestra fairly intoxicates us with its dashi+ng rhythuena[75] Debussy's well-known piece _Hoe 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 re that it was formed under the star of a Galliard” One of the lish composer John Dowland (born 1562) is entitled _Lachryured 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 freedo 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 atte 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 ination of the co the most attractive ether fro; 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 Shtly 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 the orchestral Suite _Adventures in a Pera's _Suite Moderne_ for pianoforte; _Stevensoniana_, (based on stanzas from Stevenson's _Child's Garden of Verses_) an orchestral Suite in four amasque_ 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 Rienuine 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 Toaudon]
CHAPTER VII
THE OLDER RONDO FORM