Biography of the suite

It consists of several independent, usually contrasting parts united by a common artistic intention. Parts of the suite, as a rule, differ in character, rhythm, pace, etc. The main principle of forming the suite - the creation of a single compositional whole based on the alternation of contrasting parts - is distinguished by S., comparable to the sonata and symphony S.

The opposite of S. However, this opposite is not absolute. Sonata and S. So, S. The result of this influence was also the inclusion of Menuet in a sonata cycle and dance penetration. S. roots later S.'s later prototypes in France in the 16th century. However, this pair forms the true birth of S., according to B. Asafiev, "almost the first strong link in the history of the suite." Printed publications begin.

Castilloes, tabulature P. Borronono and G. Gorzianis in Italy, lute sb-ki P. Tagenyan –47 in France, contain not only Pavans and Gallardy, but also others. The third dance was sometimes joined by the third dance, also a 3-day, but even more lively-Volta or PIVA beer. Already the earliest well -known example of the contrasting comparison of Pavana and Galardy, dating, gives an example of building these dances on a similar, but metrhythmically transformed melodic.

Soon this principle becomes decisive for all dances. Sometimes, to simplify the record, the final, derivative dance was not written out: the contractor was given the opportunity, preserving the melodic. To the beginning. GOU 30 PAVAN and GALARAN, publ. Burda, J. Bull, O. Gibbons Sat. The process of rebirth of domestic dance into the “Play for Listening” finally ends with Ser.

Froberger, who installed in his S. later, Froberger introduced the fourth dance-swift Zhigu, which soon entrenched as an obligatory concluded. Allemande was usually preceded by sonata, symphony, tokkata, prelude, overture; Of the non -standard parts, Aria, Rondo, Capricchio, etc. were also found. All parts were written, as a rule, in one tonality. As an exception in the early Da Camera sonatas A.

Corelli, which essentially S. in the major or minor tonality of the nearest degree of kinship are maintained by the department. Handel, 2nd Menuet from the 4th English S. Bach; In a number of suite of Bach, the English suits Nono 1, 2, 3 and others. The very term “suite” first appeared in France in the 16th century. So, sometimes S. Along with this, the Dancing group was called Lessons G.

Pirsell, in Italy - Balletto or later Sonata da Camera A. Korelli, A. Steffani, in Germany - Partie I. Kunau or Partita D. Biosthuda, I. Bach, in France - Ordre P. Cooper, and others. Often S. The variety of names indicated according The essence of the same genre was determined by the National. So, French. Luli in the orc. Cooperation, as well as inclusion in dance.

Cooperation includes diverse plays. Shamboner, L. Cuperin, N. Lebeg, J. Marshan, F. Cuperin, J. Ramo was introduced in S. Lully for the first time in S. later this innovation was perceived by him. Fisher, I. Kusser, G. Teleman and I. Purcell often opened his S. besides orchestral and harpsichord S. from Ital. Frescobaldi, who developed variation of S. influence Ital. Handel introduced ital into the village of Features.

Bach, erecting the genre S. in the suits of Bach 6 English.

In dance. In each type S., a fugue invariably enters the Bakhov’s overtures. In the 2nd floor. Leading muses. Haydna and V. Mozart, bearing these names, for the most part are S. of the Op. Beethoven is close to S. In general S. a wide variety of types of constructing S. in the approaches to the genre of software S. Shuman - “Carnival”, “Fantastic plays”, “Children's scenes” and others.

Bright samples of the program orchestral of the software are characteristic of FP. Borodin, "little suite" for FP. Tchaikovsky mainly consist of characteristics. Form-Waltz of the 2nd and 3rd C. You can reckon it with the same “Serenade” for strings. Parts S. in ser. Grieg from music to the drama of Ibsen "Per Gynt", J. Biza from music to drama A.