Suite |

French suite, lit. – series, sequence

One of the main varieties of multipart cyclic forms of instrumental music. It consists of several independent, usually contrasting parts, united by a common artistic concept. Parts of a syllable, as a rule, differ in character, rhythm, tempo, and so on; at the same time, they can be connected by tonal unity, motive kinship, and in other ways. Ch. S.’s shaping principle is the creation of a single composition. whole on the basis of the alternation of contrasting parts – distinguishes S. from such cyclical. forms like sonata and symphony with their idea of ​​growth and becoming. Compared with the sonata and symphony, S. is characterized by greater independence of the parts, a less strict ordering of the structure of the cycle (the number of parts, their nature, order, correlation with each other can be very different within the widest limits), the tendency to preserve in all or several. parts of a single tonality, as well as more directly. connection with the genres of dance, song, etc.

The contrast between S. and the sonata was especially clearly revealed by the middle. 18th century, when S. reached its peak, and the sonata cycle finally took shape. However, this opposition is not absolute. Sonata and S. arose almost simultaneously, and their paths, especially at an early stage, sometimes crossed. So, S. had a noticeable influence on the sonata, especially in the area of ​​tematiama. The result of this influence was also the inclusion of the minuet in the sonata cycle and the penetration of dances. rhythms and images in the final rondo.

The roots of S. go back to the ancient tradition of comparing a slow dance procession (even size) and a lively, jumping dance (usually odd, 3-beat size), which was known in the East. countries in ancient times. The later prototypes of S. are the Middle Ages. Arabic nauba (a large musical form that includes several thematically related diverse parts), as well as many-part forms that are widespread among the peoples of the Middle East and Middle East. Asia. in France in the 16th century. a tradition of joining in dance arose. S. dec. childbirth branley – measured, celebrations. dance processions and faster ones. However, the true birth of S. in Western Europe. music is associated with the appearance in the middle. 16th century pairs of dances – pavanes (a majestic, flowing dance in 2/4) and galliards (a mobile dance with jumps in 3/4). This pair forms, according to B. V. Asafiev, “almost the first strong link in the history of the suite.” Printed editions 16th century, such as the tablature of Petrucci (1507-08), “Intobalatura de lento” by M. Castillones (1536), the tablature of P. Borrono and G. Gortzianis in Italy, the lute collections of P. Attenyan (1530-47) in France, they contain not only pavanes and galliards, but also other related paired formations (bass dance – tourdion, branle – saltarella, passamezzo – saltarella, etc.).

Each pair of dances was sometimes joined by a third dance, also in 3 beats, but even more lively – volta or piva.

Already the earliest known example of a contrasting comparison of the pavane and the galliard, dating from 1530, provides an example of the construction of these dances on a similar, but meter-rhythmically transformed melodic. material. Soon this principle becomes defining for all dances. series. Sometimes, to simplify the recording, the final, derivative dance was not written out: the performer was given the opportunity, while maintaining the melodic. the pattern and harmony of the first dance, to convert the two-part time into a three-part one yourself.

To the beginning 17th century in the work of I. Gro (30 pavanes and galliards, published in 1604 in Dresden), eng. The virginalists W. Bird, J. Bull, O. Gibbons (sat. “Parthenia”, 1611) tend to move away from the applied interpretation of dance. The process of rebirth of everyday dance into a “play for listening” is finally completed by ser. 17th century

Classic type of old dance S. approved the Austrian. comp. I. Ya. Froberger, who established a strict sequence of dances in his instruments for harpsichord. parts: a moderately slow allemande (4/4) was followed by a fast or moderately fast chimes (3/4) and a slow sarabande (3/4). Later, Froberger introduced the fourth dance – a swift jig, which soon became fixed as a mandatory conclusion. part.

Numerous S. con. 17 – beg. 18th century for harpsichord, orchestra or lute, built on the basis of these 4 parts, also include a minuet, gavotte, bourre, paspier, polonaise, which, as a rule, were inserted between the sarabande and the gigue, as well as “doubles” (“double” – ornamental variation on one of the parts of S.). Allemande was usually preceded by a sonata, symphony, toccata, prelude, overture; aria, rondo, capriccio, etc. were also found from non-dance parts. All parts were written, as a rule, in the same key. As an exception, in the early da camera sonatas by A. Corelli, which are essentially S., there are slow dances written in a key that differs from the main one. In the major or minor key of the closest degree of kinship, otd. parts in the suites of G. F. Handel, the 2nd minuet from the 4th English S. and the 2nd gavotte from S. under the title. “French Overture” (BWV 831) J. S. Bach; in a number of suites by Bach (English suites No No 1, 2, 3, etc.) there are parts in the same major or minor key.

The very term “S.” first appeared in France in the 16th century. in connection with the comparison of different branches, in the 17-18 centuries. it also penetrated into England and Germany, but for a long time it was used in decomp. values. So, sometimes S. called separate parts of the suite cycle. Along with this, in England the dance group was called lessons (G. Purcell), in Italy – balletto or (later) sonata da camera (A. Corelli, A. Steffani), in Germany – Partie (I. Kunau) or partita (D. Buxtehude, J. S. Bach), in France – ordre (P. Couperin), etc. Often S. did not have a special name at all, but were designated simply as “Pieces for the harpsichord”, “Table music”, etc. .

The variety of names denoting essentially the same genre was determined by the nat. features of S.’s development in con. 17 – ser. 18th century Yes, French. S. was distinguished by greater freedom of construction (from 5 dances by J. B. Lully in the orc. C. e-moll to 23 in one of the harpsichord suites of F. Couperin), as well as inclusion in the dance. a series of psychological, genre and landscape sketches (27 harpsichord suites by F. Couperin include 230 diverse pieces). Franz. the composers J. Ch. Chambonnière, L. Couperin, N. A. Lebesgue, J. d’Anglebert, L. Marchand, F. Couperin, and J.-F. Rameau introduced dance types new to S.: the musette and rigaudon , chaconne, passacaglia, lur, etc. Non-dance parts were also introduced into the S., especially decomp. Aryan genera. Lully first introduced S. as an introductory. parts of the overture. This innovation was later adopted by him. composers J. K. F. Fischer, I. Z. Kusser, G. F. Telemann and J. S. Bach. G. Purcell often opened his S. with a prelude; this tradition was adopted by Bach in his English. S. (in his French. S. there are no preludes). In addition to orchestral and harpsichord instruments, instruments for the lute were widespread in France. From Italian. D. Frescobaldi, who developed the variational rhythm, made an important contribution to the development of rhythmic composers.

German composers creatively combined the French. and ital. influence. Kunau’s “Bible Stories” for harpsichord and Handel’s orchestral “Music on the Water” are similar in their programming to the French. C. Influenced by Italian. vari. technique, the Buxtehude suite on the theme of the chorale “Auf meinen lieben Gott” was noted, where the allemande with a double, sarabande, chimes and gigue are variations on one theme, melodic. the pattern and harmony of the cut are preserved in all parts. G. F. Handel introduced fugue into S., which indicates a tendency to loosen the foundations of ancient S. and bring it closer to the church. sonata (of Handel’s 8 suites for harpsichord, published in London in 1720, 5 contain a fugue).

Features Italian, French. and German. S. was united by J. S. Bach, who raised the genre of S. to the highest stage of development. In Bach’s suites (6 English and 6 French, 6 partitas, “French Overture” for clavier, 4 orchestral S., called overtures, partitas for solo violin, S. for solo cello), the process of liberation of dances is completed. play from its connection with its everyday primary source. In the dance parts of his suites, Bach retains only the forms of movement typical of this dance and certain rhythmic features. drawing; on this basis, he creates plays that contain a deep lyric-drama. content. In each type of S., Bach has his own plan for constructing a cycle; yes, english S. and S. for cello always begin with a prelude, between the sarabande and the gigue they always have 2 similar dances, etc. Bach’s overtures invariably include a fugue.

In the 2nd floor. In the 18th century, in the era of Viennese classicism, S. loses its former significance. Leading muses. the sonata and symphony become genres, while the symphony continues to exist in the form of cassations, serenades, and divertissements. Prod. J. Haydn and W. A. ​​Mozart, who bear these names, are mostly S., only the famous “Little Night Serenade” by Mozart was written in the form of a symphony. From Op. L. Beethoven are close to S. 2 “serenades”, one for strings. trio (op. 8, 1797), another for flute, violin and viola (op. 25, 1802). On the whole, the compositions of the Viennese classics are approaching the sonata and symphony, genre-dance. the beginning appears in them less brightly. For example, “Haffner” orc. Mozart’s serenade, written in 1782, consists of 8 parts, of which in the dance. only 3 minuets are kept in form.

A wide variety of types of S. construction in the 19th century. associated with the development of program symphonism. Approaches to the genre of programmatic S. were the cycles of FP. R. Schumann’s miniatures include Carnival (1835), Fantastic Pieces (1837), Children’s Scenes (1838), and others. Rimsky-Korsakov’s Antar and Scheherazade are outstanding examples of orchestral orchestration. Programming features are characteristic of FP. cycle “Pictures at an Exhibition” by Mussorgsky, “Little Suite” for piano. Borodin, “Little Suite” for piano. and S. “Children’s Games” for orchestra by J. Bizet. 3 orchestral suites by P. I. Tchaikovsky mainly consist of characteristic. plays not related to dance. genres; they include a new dance. Form – waltz (2nd and 3rd C.). Among them is his “Serenade” for strings. orchestra, which “stands halfway between the suite and the symphony, but closer to the suite” (B.V. Asafiev). Parts of S. of this time are written in decomp. keys, but the last part, as a rule, returns the key of the first.

All R. 19th century appear S., composed of music for the theater. productions, ballets, operas: E. Grieg from the music for the drama by G. Ibsen “Peer Gynt”, J. Bizet from the music for the drama “The Arlesian” by A. Daudet, P. I. Tchaikovsky from the ballets “The Nutcracker” and “The Sleeping Beauty” ”, N. A. Rimsky-Korsakov from the opera “The Tale of Tsar Saltan”.

In the 19th century a variety of S., associated with folk dances, continues to exist. traditions. It is represented by Saint-Saens’ Algiers Suite, Dvorak’s Bohemian Suite. Kind of creative. refraction of old dances. genres is given in Debussy’s Bergamas Suite (minuet and paspier), in Ravel’s Tomb of Couperin (forlana, rigaudon and minuet).

In the 20th century ballet suites were created by I. F. Stravinsky (The Firebird, 1910; Petrushka, 1911), S. S. Prokofiev (The Jester, 1922; The Prodigal Son, 1929; On the Dnieper, 1933 ; “Romeo and Juliet”, 1936-46; “Cinderella”, 1946), A. I. Khachaturian (S. from the ballet “Gayane”), “Provencal Suite” for orchestra D. Milhaud, “Little Suite” for piano. J. Aurik, S. composers of the new Viennese school – A. Schoenberg (S. for piano, op. 25) and A. Berg (Lyric Suite for strings. quartet), – characterized by the use of dodecaphonic technique. Based on folklore sources, “Dance Suite” and 2 S. for orchestra by B. Bartok, “Little Suite” for orchestra by Lutoslawski. All R. 20th century a new type of S. appears, composed of music for films (“Lieutenant Kizhe” by Prokofiev, “Hamlet” by Shostakovich). Some wok. cycles are sometimes called vocal S. (vok. S. “Six Poems by M. Tsvetaeva” by Shostakovich), there are also choral S.

The term “S.” also means music-choreographic. composition consisting of several dancing. Such S. are often included in ballet performances; for example, the 3rd painting of Tchaikovsky’s “Swan Lake” is composed of following the traditions. nat. dancing. Sometimes such an inserted S. is called a divertissement (the last picture of The Sleeping Beauty and most of the 2nd act of Tchaikovsky’s The Nutcracker).

References: Igor Glebov (Asafiev B.V.), Tchaikovsky’s instrumental art, P., 1922; his, Musical Form as a Process, Vol. 1-2, M.-L., 1930-47, L., 1971; Yavorsky B., Bach suites for clavier, M.-L., 1947; Druskin M., Clavier music, L., 1960; Efimenkova V., Dance genres …, M., 1962; Popova T., Suite, M., 1963.

I. E. Manukyan