Suite

In the suite genre, the tradition has found its continuation, in eastern countries, known in ancient times: the juxtaposition of a slow procession dance and a live, jump dance. The prototypes of the suite are the widespread multipart forms in the Middle Ages in the Middle East and Central Asia ^[1] . In France, in the 16th century, the tradition of combining various clans of Branleys (folk circular dances) began - measured dance-processions and faster ones; then the term "suite" appeared ^[1] . In the middle of the century there was a pair of dances: a majestic and smooth pavana in the size of 2/4 and mobile, with galliard jumps by 3/4. Dances were built on similar melodic material, but rhythmically transformed; The earliest known sample of such a suite dates from 1530 ^[1] .

In the 17th and 18th centuries, the term “suite” penetrated into England and Germany , but was used for a long time in various meanings, and the suite genre itself was transformed by that time: at the beginning of the 17th century, in the works of I. Gro and the English Orginalists, there was a tendency to overcome applied dance functions, and by the middle of the century the everyday dance had finally become a “play for listening” ^[1] .

The suite is characterized by a pictorial image, a close relationship with song and dance. Household and orchestral concert suites are distinguished ^[2] . In the 17th century, the chamber suite was no different from the chamber secular sonata, it was a free sequence of dance numbers: the Alemande , chiming clock , saraband , jig or gavotte ^[3] .

At the end of the 17th century , an exact sequence of parts of the chamber suite was formed in Germany:

• 1. Allemande ( allemande ) as a dance known since the beginning of the XVI century. Having undergone evolution, it lasted as the main part of the suite almost until the end of the XVIII century. This part of the suite can be polyphonic ;
• 2. Courant ( courante ) - lively dance in a three-part size. The greatest popularity of the chime reached in the second half of the XVII century in France;
• 3. Sarabande ( sarabande ) - very slow dance. Subsequently, the saraband was performed during mourning ceremonies, with ceremonial burials. A dance of sorrow-focused character and slow movement. A three-partition metric has a tendency to lengthen the second beat;
• 4. Gigue ( gigue ) - the fastest ancient dance. The three-split size of the jig often turns into tripleness. It is often performed in a fugized , polyphonic style.

Orchestral concert suites, which appeared at the end of the 17th century, could have a completely different structure: consist of a larger number of parts, including marches , minuets , gavottes , rigodons , chacontes , “arias” and other numbers of the ballet-dance warehouse ^[4] . Such are the first German orchestral suites by I. G. Fisher and G. Muffat , written under the influence of theatrical music by J. B. Lülli , this tradition was continued in their orchestral suites by I. S. Bach and G. F. Telemann ^[4] .

In the second half of the 18th century, both the chamber and orchestral suites were forced out, respectively, by the classical sonata , which lost its original dance character, and formed into an independent pre-classical genre, and then a classical symphony ^[5] . The program suites that appeared at the end of the 19th century, for example, by J. Bizet , E. Grieg , P. I. Tchaikovsky , N. A. Rimsky-Korsakov ( Scheherazade ), M. M. Mussorgsky ( Pictures at an Exhibition ), suites have no connections with the old genre, as do the twentieth-century suites (for example, from the music for the films by D. Shostakovich or G. Sviridov ) ^[5] .

• Manukyan I.E. Suite // Musical Encyclopedia / ed. Yu. V. Keldysh. - M .: Soviet Encyclopedia, 1981. - T. 5 .
• Konen VD Theater and Symphony. - M .: Music, 1975. - 376 p.