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in which it is evident that there is a strong accent on the weak
beats; and the prevalence of feminine endings in the cadences.
The Sarabande always displays great depth of emotion—often
of a tragic and impassioned kind; and, in the Suite, seems to
have served the composer for the same outpouring of feeling
which we associate with the slow movement in the later Sonata
or Symphony. The example cited in the Supplement (See No.
28)—taken from one of Bach’s Sonatas for ’cello—is considered
one of the most beautiful in existence. Other eloquent Saraban-
des may be found in the Second and Third English Suites and
in Handel’s noble Air “Lascia ch’io pianga” from the opera of
Rinaldo. Two fine modern examples of this dance are the sec-
ond number in Paderewski’sHumoresques de Concert, op. 14,
and the second number in the set of pieces by Debussy,Pour
le Piano—Prélude,Sarabande,Toccata. Composers sometimes
employ the Sarabande rhythm for its inherent beauty, or for
dramatic purposes without indication of the fact. Examples are
the theme for variations in Beethoven’s Sonata, op. 109, and
the opening measures of theEgmont Overturewhere, by means
of the characteristic Spanish dance-rhythm, an atmosphere of
oppression and dejection is established,e.g.
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The Gavotte is an energetic yet dignified dance in duple rhythm
(it is almost always played too fast)—the characteristics of which
are its beginning on the half-measure and its strongly marked
cadences. One of the most stirring examples is that cited from
the Third English Suite (See Supplement No. 29) which, with
its subdued middle portion, La Musette,[73] is an early example
of tripartite arrangement. Other gavottes[74] are the favorite
one from the Fifth French Suite, that from Handel’s operaOt-
tone(so often played in organ or pianoforte transcriptions) and,
from modern literature, the charming one in d’Albert’sSuite for
Pianoforte, op. 1.
[Footnote 73: So-called because it is written on a sustained bass
note or pedal point; a feature of the Musette (the French name
for Bagpipe) being its persistent drone bass on the tonic and
the dominant.]
[Footnote 74: An interesting example may also be found in
Grieg’sHolberg Suite for Pianoforte.]