Chapter 10

CHAPTER VI

THE CLASSICAL AND THE

MODERN SUITE

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, sim-
ple, direct and easily understood of the people.[70] This de-
velopment 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 asLa 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 fa-
mous both as composer and performer—the first, in fact, of the
long line of key-board virtuosi—and in his compositions in dance