Читать книгу Music: An Art and a Language - Walter Raymond Spalding - Страница 21

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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]

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.

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.