\ THE ORIGIN AND DEVELOPMENT OF THE DANCE SUITE By MARY EDNA PHELPS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1921 Digitized by the Internet Archive in 2016 https://archive.org/details/origindevelopmenOOphel INDEX Title page PP 1 History and origin of the Suite PP 2 - 11 Analysis and description of some of the dances used in the suite. PP 12 - 20 List of dances by later composers PP 21 List of suites classified alphabetically pp 22 - 30 bibliography PP- 31 I • ■ B ■ ■ Ip I (1) I THE ORIGIN & DEVELOPMENT OP THE SUITE. The suite, the earliest of cyclic groups, was a series of old dance tune3 , usually beginning with a prelude and often- times finishing with an air with variations. This latter move- ment consisted of a melody being given first in its simplest and plainest possible fashion and then repeated several times, each repetition introducing some variation of rhythm or melody. Perhaps the most notable example of a conclusion such as this is the air known as "The Harmonious Blacksmith" which f ini shies one of Handels suites. Other definitions which have been given are "A suite is a prelude in addition to a set of dance tunes making a popu- lar appeal by the familiarity of established dance rhythms," and "The suite is a form of instrumental composition probably originating during the latter part of the middle ages in a custom of town bands of stringing together a series of contrast- ing tunes with the only bond of similarity, uniformity of key." Generally speaking the earliest suites were supposed to have been written in Prance about 1650, but in strictness the early compositions of Dr. John Bull, Orlando Gibbons, and Wm. Bytd found in the Parthenia of a still earlier period, are also suites. Besides the Parthenia other earlier sources are Morley *3 "Plain and Easy Introduction to Practical Music," printed in 1597 and Queen Elizabeth* s 'Virginal Book". Morley suggested the contrasting of the pavan and galliard and an example of each is taken from the Morley collection written by Vm Byrd, Spitta in his "Life of Bach" mentions the same con- . .c: ( 2 ) trast as popular in Germany a little later and refers to the publication of thirty Paduans & Galliards by Johann Ghro of Dresden in 1604. In just such a manner originated the idea of joining different dance tunes together to make an artistic balance and contrast and of establishing the first secular instru- mental cyclic art form. The period between the latter half of the 16th century and the beginning of the 18th century may be considered the early period of the suite. It falls directly under the head of dance music and until very recent developments wa3 essentially based on the folk dance. During this period the most conspicuous feature of universal instrumental music is the profusion of dance tunes — Every country had its character- istic dances and thruout Europe the people still maintain their national dances which are characteristic of the races to which they belong. The statement that the classical world has literally danced into its classical forms of music is perhaps more correct than may seem at first glance. Indirectly the dance has influ- enced all forms of music early or mo dern** because of this in- fluence some brief consideration of the development of the dance here is permissible. Prom the very beginning the dance was a visible expression of rhythm. Many dances have strayed down through the ages in the form of children’s game. Por example, in "Little Sally Waters "as children play, one is observing a survival of the worship of an ancient Egyptian . God. Or if for a more familiar example we hear "London Bridge is Palling Down" it is a very modern setting of the satirical song aimed at "Peter of Cole Church" who was building * . ♦ jjj ' (3) the bridge in 1205. Hj*iy Away, Lady Lug" carries us to the dreadful confla- grations of the b0 years war in Pomerania -- Of a different character from these but an example, nevertheless, is that of the old choral dances of the Christians which fell into dis- credit and were condemned by St. Augustine and other fathers of the Church who thought promiscuous dancing resulted in great sin. Sellinger’s Round, a 16th century tune and round dance, of unknown authorship is also an example. o / / / _ 1 / / /i / 111 III ; |\/ 1 , L i LI , L ! - / U . \ ' ! l L 1 ' ^ J si - . . / 1 SI. + * ~ 1 + -r j T si • I • + 0 ) ^ f i Li * i. 1/ r \ + o » w 1 ' i y v ' It is very hard and in many ca,ses impossible for want of materials, to trace fully the process of this selection. Very early the Pavans and Galliaids dropped out of fashion and the Allemandes and Courantes came in around which, a.s a sort of neucleus the other dances of the suite were grouped . When the principle of grouping movements together was once accepted, tne speculations of composers in that line seem to have been only limited by their knowledge of dance forms. It was only through experimentation that the most satisfactory successions were discovered and thus many of the earlier suites c on t.ai n -a . , ‘ * ■ greater profusion of variety than is found in those of the maturer period. Let us take Purcell's suites for instance, which date from the last ten or twenty years of the 17th century. .Besides the Allemandes and Courantes, which occupy the same position as in the suites of nach & Handel, one group also com- prises a saraband, cebelle, minuet, a Kigandooh an Intrade and a inarch, while another contains a trumpet tune and a chacone and still another a hornpipe. Curiously enough the jig is almost omitted in the earlier suites, which in the mature suite form was the only one admitted of English origin. The opening with a Prelude is almost invariable and this is not astonishing, since this kind of movement (which can hardly be described as a form) was asfamiliar as the dances from having been so often attempted by the early instrumental composers such as byrd, Orlando, Gibbons, Hull and Plow among Englishmen. It is very interesting to note how, in the various countries the suite was developed along different lines and used for different purposes, even tho the general form was uni- versal. Take the matter of titles, for example. Ji'or a long time these groups had no uniform distinctive title. In England they were generally called Lessons & continued to be so called till after Handels time. In Italy, similar groups were called "sonate de Camera”. In Germany Partitas and in Prance they were at fir t called Ordres. Thus the actual suite existed universally for some time before the term suite, the name by which it is now known, came into general use. The composers of different countries illustrated in different degrees the ten- dency toward consolidation which is inevitable in an art form. . 9 - . very early showed many proofs of appreciation of its principles; for instance, a suite of Lulli in E. Minor has the complete series of allemande, saraband, courante, minuet and gigue. A little later, however, theatrical influence seems to have come into play and Remeau and Couperin, tho in many cases adopting the same neucleus to start with, added to it a profusion of randeaus and other short movements caused by various eccentric names. In one of Couperino Ordres there are at least twenty-three little pieces and in such a case it is clear that a sense of form or complete balance in the whole can hardly have been even attempted. Tho the movements are strung together in the same key according to the recognized rule, yet they seem to be in character a series of agreeable ballet pieces and the titles point to their belonging to quite a different order of art form from that illustrated by the suite in its maturity. In fact there is so little in common that their kinship must be attributed mainly to the relation of feoth to programme music. Eor example in the tenth order of uoupein the first number is called "La Triomphante" and also "Lruir de Guerre". In the 11th order a series of pieces represents a battle, the title of one being "Les Invalides" in which the right hand is made to represent the dislocated joints of the wounded and the left the limping, halting gait of others.! The final piece is entitled "Disordre and de’ route de toute la troupe" Such extreme cases, however, were the exception rather than the rule but they show how the suite form was exaggerated. fastly set in the direction of the purer art form and the pre- valence of uniformity in their distribution of movements soon became remarkable. Many examples of the form have come down and In Germany, composers kept their faces more stead- they are remarkably regular e example is very interesting because of its uniqueness, that of a complete suite out of varia- tions on the choral "Auf meinem lieben Gott" in the form of a Saraband courante, and gigue, by the famous organist Buxtehude. The universal arrangement of so many of the suites establish the fact that by the beginning of the 18 th century certain definite principles of grouping the movements were generally known and accepted and that a neucleus, consisting of alleraande, courante, sarabande and gigue had become the accepted type of the art form. It was chiefly thru Germans that the suite form was developed in its austerest simplicity; and in that condition and inrelation to their keyed instruments it seems that the usual group is the most satisfactory that has been devised. The suite in its finest end most consistently complete o \ form is perhaps illustrated in Bach's suites Anglaese, which must be regarded as the culminating point of the suite as an art form. I shall attempt to briefly outline the suite as used by Bach and also Handel to some extent with particular reference to technical details. The uniformity of key is almost universal, only a very few exceptions having been found. Consequently, the contrast is purely one of character between the several move- ments; and this is further emphasized by the absence of any marked contrast of key or subject in themovements themselves. They are almost invariably constructed upon the simple principle of balanced halves each representing the same material in dif- ferent phases and each strengthened by repetition. The first half sets out from the tonic key and without any marked pause or division, usually modulates so as to settle into the key of the dominant in which key it closes. The second half begins afresh 4 I y ; i . * ■ - ( 8 ) from that point and proceeding in most cases by way of the key of the subdominant and settles well back again into the original key and concludes. The two halves are made purposely to balance one another as far as may be, without definite recapitulation. In a few intermezzi exceptions have been found where the second half is somewhat extended to admit of a little development and free modulation, but the general principles in the average num- ber of cases are the same, namely to diffuse the character of the principal figures and features throughout rather than to con- centrate the interest of the subject in definite parts of the movement. In order, however, to strengthen the effect of balance between the two halves, certain rhythmic and melodic devices are common and characteristic with regard to the beginning and endings of each half, there frequently being a clear relation between the opening bars of each half; also the ends of each half correspond very closely particularly in allemands, courantes and gigues. Thus much of form applies, more or less to all the movements which are based on dance rhythms or developed on that principle but in addition each of the movements has also severally distinct characteristics , upon which the form of the suite as an art form is mainly based. In the severest simplicity of the form the allemande comes first — this movement consists mainly of moderately slow 4/4 time with regular smooth motion and its character has been generally regarded as appropriately quiet and sober. To this the courante, the movement which usually fol- lows is supposed to supply a contrast, but it cannot be maintained that it always does so successfully. Thereis, however, a slight (9) touch of uneasiness about the courante which leads directly into the slow dignified Sarabande. In the latter movement the rhythmic principle is very pronounced tho simple, the strong emphasis coming on the second beat of a bar of 3/4 in slow time. This is an obvious source of contrast with both the preceding members of the suite since in neither the Allemande nor the courante is there any such pronounced and persistent rhythm. In addition to this rhythmic contrast there is also a harmonic or structural contrast. In the first two members there is considerable free motion of parts, not to be described as initation but rather that of free figuration of two or three voices , giving in general a contrapuntal effect to the whole. In the sarabande the peculiar rhythmic character puts both systematic imitation and regular contrapuntal motion equally out of the question. Consequently as a rule a more decidedly harmonic style is used -- the chords are fuller and move more simultaneously as blocks of harmony. The general effect of the sarabande is noble and serious and the music is more concentrated than in any other member of the group of move- ments. It is thus in various respects the central point of the suite in position, in musical interest and unique quality and in the fact that the preceding movements generally tend to solidity and the succeeding movements to lightness and gaiety. In the strictest forms of the suite the gigue follows the Sara bande immediately. In most cases, however, composers took the liberty to interpolate other movements among which the gavottes, , bour- rees, minuets and Passepieds were the most familiar. These move- ments evidently were to strengthen th^blalance on either side of — — - — — ■ ■ - — - — X ■ (10) sarabande both in quality and amount. The gigue which concludes the series is theoretically and in most cases actually of light and rapid style. The old fancy for concluding a work with a fugue is illustrated by the common occurrence of fugal treatment in this member alone of the regular group of the true suite series. The method commonly used was to begin and carry out a free sort of fugue in the first half, concluding like the other movements in the dominant key and to take up the same sub- ject freely or by contrary motion in the second half with regular answer as in a fresh fugetta and carry it out on that basis with the usual direction of modulation concluding in the original key. In addition to this regular series or sort of neucleus a Prelude was composed. It appears in a variety of forms, one being that of frequent arpeggios as in the Prelude of the Holberg suite, and under a great variety of names. The chief point which is most obvious in relation to the other movements is that their characteristic form of nearly equal halves is systematically avoided; in fact any other form seems to have been taken in pre- ference. The effect seems to be to add breadth and stability to the group and the contrast with the rest of the movements is in every respect unmistakable. In the matter of actual distribution of movements there are a great many variations. Perhaps the most conspicious ones are to be found in Bach’s works, commonly known today as His Orchestral Suites. As a matter of fact, however, it is said that Bach himself called then overtures and that the name suites were added by some one else afterwards. Many of Handels suites illustrate conspicuous departure from the usual order. The modern tendency as shown in the suites for orchestra piano forte, cello and violin by Lachner, Raff, - - 1 . ■II . ( 11 ) St. Saens, Tschaikowsky and others is to break away from any definite pattern-- often times modem suites have no suggestion of dance, rhythms, but the term is applied to any group of com- positions in anyway musically related. In conclusion it remains to classify the suite as an art form, musically. It was the first instrumental form in which several movements were combined into a complete whole. It was the first in which the ecclesiastical infuence which had been so powerful in all high class music were completely sup- planted by a secular type of equaly high artistic value. Lastly it was the highest representative instrumental form of the contrapuntal period, as the sonata is the highest of the harmonic period and the results attained from its develop- ment are remarkable and valuable in a high degree. - ( 12 ) The old dances were of the greatest possible importance to the progress of instrumental music for they brought life, grace and rhythmical beauty into it. Each dance hah its characteristic rhythm and conveyed its characteristic musical mood, due in most cases, to its origin and historical seating. Some of the dances which were used in the ear!J.y suites, are very old and have become obsolete but for the most part we find those of the Mediaeval times used most frequently. In the case of some of these dances it is very difficult to give an accurate description of them but the student listens much more intelligently to the contrasted numbers of the suite when he knows something of the origin and history of each. The following descriptions are of the dances most frequently used in the mature suite and in the order they usually appeared - the prelude, allemande, courante, sarabande, gavotte and gigue. The remaining ones are of dances used less frequently or in a much earlier period than that of -Bach or Handel . The Prelude, as the name implies, usually preceded the dance numbers of the suite and altho considered an essential part of it, conformed to no particular pattern or rhythm and served merely as an introduction to the whole suite. The Allemande usually followed the Prelude and almost always stood before the courante. It is of German origin as the name implies. Besides the Allemande of the suite there is an entirely diff erentkind in two four time which is danced by the peasants of Swabia and Switzerland. The $ '■£« id jj' 6i- j>J< i . * ■ ; j ' ' ■ - jjjj characteristics of the suite movement are earnestness of ex- pression and a moderately quick movement. It is meant to convey the feeling of contentment and quiet cheerfulness. It ought to possess a very rich harmony* -rHt, ?/ rr U 1 . i / J 1 J . I The courante (corrente) is either French or Italian origin. In the French it comes from the verb "courir" and in the Italian "correre" meaning "to run" in both cases. Mattheson, contemporary of Handel, describes it in the following manner: "Tempo moderately rapid and dotted rhythm are frequent." The Hach and Handel courantes are written either in 3/2 or 3/4 time and frequently there are doubles or varia- tions added. The Italian courante is more rapid usually in 3/8 or 3/4 time. - , - r b -? * * » *-* * * > r t r j, . r . ^ e _ . r l| y c , £ f r J ■>. ^_jr. f . ' W , / r r , + W . i -r { V /& > / Jj j 1 1 , V + — tL- f i £l_ 2 s * j /> 7 j i -■ '■ L -^ F [ The Sarabande was originally a lively Spanish dance in which castanets were used. It was quite in contrast with the form it took on later when transferred to Italy. As < : t wrj,[ T r ,'; : j (14) used in the suite, particularly those of Hach and Handel it takes the typical Italian form, that of a very stately, earnest and solemn dance . Shakespeare alludes to a Sarabande in "Much Ado About nothing" as "a measure full of state and ancientry." It is often called the central body of the suite as it is the one slow, stately movement round which the quicker movements, the Prelude allemande , and the courante on the one side, and the gavotte and gigue on the other - revolve. The Gr&vo-tte , (sometimes written Cfavot) very closely resembles the Hourra®. Phis dance isof French origin and takes its name from the Gavot3 or "gap - men" inhabitants of the town of Gap in the "Haute - Alpes", who danced it. Unlike most of the other dances of that period it was seldom used as a social dance, but served mainly for theatrical purposes. Matthe- son says "The expression of the gavotte should be that of a jubilant joy; the ’jumping" and by no means the 'running' movement is a particular feature of it". Frequently a musetta or a ba,g pipe tune was added to the gavotle the peculiar- ly of this movement being the holding over of the fundamental bass as a sort of organ point throughout the entire composition. This gives an imitation of the quaint, monotonous effect of the bag pipe. The gavotte, aside from its place in the suite, ■*.-i r. (15) attained universal popularity as a solo particularly for piano and violin. /> — 1 jy ' r* — ^ £ — f f * 0 * /Z / * i ^ J . K/ J J ^ + _ * i 1 'T' 1 4 v ' * ? 1 — ^ -j- J The Gigue, according to one authority was formerly the dance tune used during the performance of the rope dancers; and tho interesting as this information, is, it is probably based on imagination rather than actual fact. The gigue proper falls into four different classes, (1) the English, (2) the Spanish, called Loure's, (5) the Canaries, and (4) the "Italiangiga" . The Spanish jigs or loures are rather slow, dignified and pompous. The canaries are full of life and bustle, but ought to have somewhat of a simple even childish expression. The Italian giga is that used by Handel and sometimes al30 by Bach. This form has retained a certain influence on modern music for example, in the last movement of Beethoven’s Kreutzer sonata. The English jig is the one generally used by Bach as in his English and Jb’rench suites. The following quotation from the liageli "Lectures” gives us some idea as to the use and struc- ture of the gigue in the suite, "The suite with all its dance tunes required also an artistically worked out piece of more solid construction, something like the fugue. Like the pre- ceding dance movements of the suite, it was divided into two parts of equal length, as to key rotationship the first part usually closed on the dominant; otherwise, almost all the (16) devices followed out in the fugue were used in the gigue, and a favorable result was gained; a lively piece with a solid construc- tion, resembling a dance movement, yet possesing also a deeper musical interest as to form" . At present the name of jig is given to any dance music of a lively, droll and grotesque expression, for example some of the arrangements of Percy Grainger of old country, clog dances. L i T1 Li T / fc rV" 7 / 1 J n -1 —1 t? -■ ?. 1 - - ~L j. ✓ - - . •• ' • * JL 1 i s + ^ ^ ^ ^ > . Various dances were contrasted in the suite, the ones above making up the usual formation in the regular order, but others were constantly heing used particularly in the partitas or the French development of the suite and the sonata da camera or the Italian development. > ( 17 ) The i*ourr£e is of Spanish origin and takes its nature from the Basque Provinces in Spain where it is called the norea. Matheson describes it as having "a cheerful and merry character, more fluent, smooth, sliding and connected than the gavotte , The peculiarity of the bomaree is a certain jovial and pleasant expression coupled with an air of hax^py, carelessness, easy tho not vulgar movement." It is always in 2/4 or 4/4 time and may be set to the dactylic metre, that is a long and two short notes. In England the bourie is represented by the popular hornpipe or the sailor’s dance for example. The Pavan, according to the Old English Encyclopedia is a "very grave stately dance, common among the Spaniards." The formation was a kind of wheel described by two sets of dances. The gentlemen danced it with cap and sword, princes in their state robes and the ladies witji long trains, their movements resembling the stately step of the peacock in Italian called "pavane" . The Galliard is coupled with the pavan as a contrast- ing dance in the very earliest traces of the suite. In the Italian language, "gagliarda" and also the Erench "gaillard" the word means merry, jolly, free, cheerful, fresh and healthy and thus indicating the nature of the dance or rather what (18) moods it expresses. Little is known of either the pavan or galliard since both very early become obsolete. The rigandon, called in English " rigadoon" , is an old rrench dance, taking its name from its inventor, the French danc- ing master, Kigaud. It was the custom to sing an accompaniment to it when first introduced. It is always written in four- four time and the character is merry, and cheerful. Grieg included a rigandon in his Holberg Suite. =z~ , * £*rLf-' ' i r " rr . / -r — — 3 — e lj — , . — r , — ! — . L l. 1 / / 1 ’ K _ * - • - — — — - — — < — i^-rn 1 i — h — ; T T T ] r -- 1 ■ u 11 1 * — — 1 1 ' 7— /-/ - • The Passepied, when introduced into the suite, takes the pla.ce of the gavotte as bourree; that is, it comes between the sarabande and the gigue. It is purely English in origin, formerly being the dance of the -breton sailors. It is usually in 3/8 or 3/4 time and generally alternates with a second passage of the samelength. If the first is in the minor key the second is written in the major key and vice versa. The expression is that of merriment and liveliness or as Mattheson expresses it, . (19) "The character of the passepied indicates an approach to negligence; a negligence expressive not of ill humour and caprice hut of good nature and joviality." One of the most con- spicuous examples appears in -Debussey' s n ±Jergamasque Suite". The chaconne is probably Italian in origin though different writers disagree as to where it was first performed. It is always in 3/4 time and has a very sedate motion. Almost in- variably for four or eight bars there appears a melody with partic- ularly well marked rhythm in the bass, while in the upper part are variations in the form of couplets. In England it was called the chacon and was danced like the sarabande. The most celebrated chaconnes are those of Pach, Couperin and Handel. The Passacaglis, in .French "passec aille" has its equivalent in the German !i Halim entrapp" has its equivalent in the German "Hahnentrapp" meaning the trotting of the cock on the "rooster- step" , probably suggested by the manner in which it was performed. Like the chaconne it has as a characteristic feature the A* melody usually written in the bass with variation or couplets in the upper part. Various writers differ in their opinion as to the quicker or slower time of the passacaglio. The minuet, tho very rarely found in the suite has been so unconditionally employed in the other cyclical form, the sonata, that it should be described here. It is said to have originally come from the French province of Poiton. It is distinguished for its graceful, noble and dignified expression and its prevailing character was oneof moderate cheerfulness. It was especially the dance of the nobility and every ball was opened with it. To afford variety a second contrasting part called the trio was usually added, so called because the latter was written for three parts : . . . „ ( 20 ) instead of two. It is particularly interesting to note the changes the minuet underwent in the hands of various composers. When Beethoven made use of it a very aristocratic and dignified expression prevailed; in Hayden's hands it took on still another character; he imparted to it a popular tone, a. simple jovial fanner without lowering it musically; and, Mozart understood how to imbue it with a more refined wit and an artistic character. The minuet must therefore be recognized as one of the principal and most important dances among those which in a great degree influenced instrumental music. ■ The following dances, written in the style of those used in the suite are classified alphabe tic ally . Alexeyev, K. (Minuet Bach, J . S . (Bourree in A minor (Gavotte in d " (Sarabande Bargiel (Trois danses Allemandes Op. 24 Boellman, L. ( Gavotte Bourgault , ( De uxi erne gavotte (Minuet, Op 3 Brotistet, E. (Passepied ( Cowen, F. H. (Four English dances in the (olden style. (Minuet - d* amour Darimant (Minuet Op. 12 German, E, (Bourree ( Gi gue Godard, B. L. P. (Gavotte, Op. 16 (Minuet Pompadour, Op 119 Langer, C. (Gavotte d* amour Massenet, J. E. F. (Sarabande Espagnole Rheinberger, J. G. (Passao aglia, Op. 132b. Saint Saens, C. 0. (Gavotte in d minor Op. 23 (Sarabande & Rigaudon, Op. 93 Tcherepnin, N . ( Gavotte Vander Stucken, F. (Rigandon, Op. 25 Westerhout, 3ST. Van (Minuet & musette Wo miser, A. A. T. (Gigue, Op. 12 ( 1 ) The following list of suites is arranged aplhabe tic ally : Albeniz, I. Suite (1860 - 1909) for Orchestra Arensky, A. S. (1861 - 1906) Suite for orchestra based on a Russian theme. Suite du ballet - "Huit d’Egypte" . Bach, J. S. (1685 - 1750) Overture and Suite in d minor English suites French suites Suite for orchestra in C major Suite in d minor for orchestra. Bantock, G-. (1868 -- ) English Secnes in Suite form Old English Suite Bird, Arthur, (1856 -- ) Three small suites for orchestra Bizet, G . (1838 - 1875) Small suite, "Children at Play". "L* Arlesienne" "Roma" suite for orchestra Bloch, Josef, (1862 -- ) Suite for orchestra Op. 6 it ii it ii 10 ii idyll ique Op . 35 Borodin, A. P. (1834 - 1887) Petite Suite Bossi, Enrico (1361 -- ) Suite for orchestra, Op. 126. Brink, Jules, (1833 - 1889) Suite for full orchestra Brockway, H. A. (1870 -- ) Sylvan Suite for orchestra, Op. 19 Broustet, Edouard, (1836 — ) "Suite d’orchestre" Op. 65 Bruch, Max, (1838 -- ) Suite for orchestra based on Russian folk melodies, Brull, Ignaz, (1846 - 1907) Danse Suite of ballet music, Op. 54. Busser, Henri Paul, (1872 -- ) "Suite funambulesque , " Qp . 20 * (2) C on t ' d . Suite "breve , Op. 26 Petite Suite for orchestra Bunning, Herbert, (1863 - ) “Village Suite" Op. 45 Busoni, F. (1866 -- ) Symphonische Suite for orchestra, Op. 25 "Zweite Orcho3tersuite" . Op. 34A Casella, Alfredo Suite in C major for orchestra, Op. 13 Chabrier, A. 13. (1841 - 1894) Suite pastorale pour orchestre Chadwick, George ¥. (1854 -- ) Suite of four symrjhonic sketches Symphonic sketches -- suite for orchestra Chaminade, Cecile, (1861 — ) "Callirhoe" - Suite d’orchestre Chopin, Frederick, (1810 - 1849) Suite for orchestra "Chopiniana" Suite for full orchestra. Co^ien, Joseph W. Polish suite in A minor for orchestra Cowan, Frederic, (1852 ) A suite of Old English dances. Cui, Cesar, (1855 ) Suite miniature for piano, Op. 20 Suite for violin with orchestral accompaniment 0p.2E Deuxieme, suite for orchestra, Op. 38 Quatrieme " " " " 40 Debussy, Claude, (1862 - 1918) Suite for orchestra “Children’s Comer," Deldevez, Edward, (1817 - 1897) Suite de ballet for orchestra Op. 27 Delibes, Clement, (1836 - 1891) "Sylvia" ballet in suite form Six aris in the old dance style. Dubois, Francois Clement (1837 -- ) “Ballet d'l’ opera" suite for orchestra "Suite Villageoise" for orchestra. ( 3 ) Dvorak, Antonin, (1841 - 1904) Suite for orchestra, Op. 39 Elgar, Sir edward, (1857 -- ) Suite, "Music of a Child’s Play". Op. lb Erb, Maria Josejjh, (1860 -- ) Suite in d minor for orchestra, Op. 29 Esser, Heinrich, (1818 - 1872) Suite for orchestra, Op. 70 ii m ii "75 Faure, Gabriel (1845 -- ) "Pelleas et Melisande" - suite for orchestra Op. 80 Fischer, Karl August (1828 - 1892) Two orchestral suites Forster, Christoph (1693 - 1745) Suite in G major for two violins, viola and violon c ello Foote, Arthur (1853 -- ) Suites for orchestra, Op. 36 and 63 F ranch, Richard Suite for orchestra, Op. 30 Ganne, Louis (1862 - ) Illys - Byzantine Suite for orchestra Garcin, Jules, (1830 - 1896) Suite symphon i que , Op. 25 Gendt, Willem Merkes van Suite for orchestra, Op. 55 German, Edward (1862 -- ) Gipsy suite for piano Suite for flute and piano Gazounov, Alexandre, (1865 — ) "Suite c arac t eri stique" Op. 9 "Chopiniana" Suite for orchestra Op. 46 Scenes de ballet for orchestra Op. 52 "Moyen - age" Suite for orchestra Op. 79 Grieg, Edward H. (1843 - 1907) "Aus Holberg's Zeit" Op. 40 Zweite orchesterui te from the music of Peer Gynt suite. Grimm, Julius (1827 - 1903) Suite in canon form for strings. Op. 10 — — — Hamerik, Asger, (1843 — ) "Uordische Suite, Op. 22 Herbert, Victor, (1859 — ) "Suite romantique", Op. 31 Humperdinck, E. (1854 -- ) Suite based on Shakespeares 1 "Tempest". Ilysnky, Alexander, (1859 -- ) Suite for orchestra, Op. 4 "Houre and Anitra" -- suits for two pianos, and four hands. Ivanov, Ippolitov, M. M. Suite for orchestra, Op. 10 Suite Orientale for orchestra, Op. 20 Joachim, Albert, (1831 - 1907 ) Suite Ho. 2 Op. 50 Kienzl, Wilhelm, (1857 -- ) Three suites in dance form, Op. 21 Abendstimmungen, Op. 53 Kohler, Oscar Suite for orchestra, d minor. Korestchenko , A. H. (1870 -- ) "Suite Armenienne" Op. 20 Lachner, F. Seven suites for full orchestra Lacome, Paul Jean, (1838 -- ) Suite ancienne for orchestra Lully, Jean ±5. (1632 - 1687) Suite for orchestra from "Roland" MacDowell, Edward, (1861 - 1908) Suite for full orchestra, Op. 42 Two Indian suites for orchestra, Op. 48 Mackenzie, Sir Alexander (1847 -- ) Suite dramatique from "Coriolanus" Suite for violin with orchestra accompaniment. Marti, Esterban "Hu it napolitaine" for orchestra Massenet, Jules, (1842 — ) Cigale - suite for orchestra Suite for orchestra in fugue style, Op. 13 (5) Moszkowski, Moritz, (1854 — ) First suite for orchestra, Op. 39 Suites " " " 47 and 79 Nicode, Jean Louis, (1853 -- ) Symphonische Suite, Op. 17 P almgren , Selim "Aus Finlaud” based on Finnish airs, Op. 24 Pares, Gabriel, (1860 -- ) "Suite Provencale" Purcell, Henry, (1659 1695} Suite in C major, for the harpsichord Raff, Joseph Joachim, (1822 ~~ 1882) Suite, Introduction and fugue, Op. 101 Suite for violin with orchestral accompaniment , Op .130 Suite in old style, Op. 200 "Itatienische" suite for orchestra Rebikov, Vladimir, (1866 -- ) Two suites for orchestra Suites for orchestra Op. 21 Reed, W. H. Suite venitienne for orchestra Reznicik, Emil Nicolaus, (1861 -- ) Symphonische suite for orchestra Rimsky, Korsakov, (1844 - 1908) Suite Symphonique in E major "Pan Voyevoda" suite for orchestra, Op. 59 Roger, Ducasse, Suite for piano, four hands French suite in d major Ropartz, J. Guy, (1864 -- ) Premiere suite d’orchestre, Op. 24 Rubenstein, Anton, (1829 - 1894) "El Dachtarawan" , Suite Op. 93 Suite for piano, Op. 119 Saint, Saens, Charles C. (1335 -- ) Suite for orchestra, Op. 49 Suite Algerienne, Op. 60 Salvayre, Gervais, (1847 -- ) Suite Espagnole for orchestra " Or ien tales for piano t . . t ' — Tel Schofer, Dirk Suite Pastorale, Op. 8 Scharwenka, Philipp, (1847 -- ) Serenade for orchestra, Op. 19 Arkadische, suite for orchestra, Op. 76 Schumann, Georg (1866 -- ) Carnival Scenes - suite for orchestra, Op. 22 Sibelius, Jean, (1865 -- ) "Karelia"- suite Op. 11 Suite for orchestra, Op. 27 "Pelleas and Melisande" , Op. 46 Sokolov , Nikolai , (1859 -- ) Suite from "Les cygnessauvages . " Op. 40 Stojowski, Sigismund, (1870 — ) Suite for full orchestra Strauss, R. (1864 — ) Suite in B major, Op. 4 Tschaikowsky , Peter, I . ( 1840 - 1893) Suite Ho. 2 C arac teristique Op. 53 " Ho. 3 " Op. 55 Wieniawski, Joseph, (1837 - 1910) Suite romantique, Op. 41 Youf eroff , Suite de ballet for orchestra, Op. 49 bibliography Hiecks, Frederick "Pro gr amme Mus i c " Pauer, Ernst Musical forms - "Composition and Instrumentation" baker, Theodore, Dictionary of Musical Terms Musical biographies "Who's who in music and drama"- to 1918 - Dictionary of Music and Musicians - vols. 2 and 11. American history and encyclopedia of music, vol. 8, 10 and 11. .Famous composers and their works. Groves' Dictionary Moore's Encyclopedia of Music. Forsyth, Cecil "Music and Nationalism." Spitta, Phillip "Life of bach". ITaylor, E, W. "An Elizabethan Virginal book." Programes of Symphonies: Minneapolis, 1913 - 14 Cincinnati 1917 - 18 St. Louis 1914 - 17 - 18 Upton, G. P. "The Standard Concert Repertory". "The Standard Concert Guide." Swartz, F . W. "The Influence of American Literature upon modern musical composition." Cordell, D. G. "A special catalogue of music material in the library."