The Green caldron - University Library

March, 1962 21
style of the movement. The dance movements are not as heavily embellished
as are the first movements, but their ornamentation also bears out this scheme
of ornamenting in the style of the movement.
Perhaps most important is the way in which Bach writes out all of his
ornaments in the music itself. He indicates exactly where and how he wants
the ornaments played. This is definitely in accord with the French fashion
and not the Italian, for the Italians believed that the performer should be
free to embellish the melody as he saw fit during performance. The French
desired everything performed as they wrote it.
An analysis similar to this on the Third Suite may be performed on
virtually all of Bach's works. The result would be the same in every case:
Bach was one of the most masterful of composers because he was able to
assimilate into his music the best of the national styles of the baroque period
and therefore to sum up the work of generations.
FOOTNOTES
^ S. W. Bennett, notes for phonograph recording /. S. Bach: Four Suites for Orchestra
(Vanguard, BG-S30-31).
^ PhiHpp Spitta, Johann Sebastian Bach, trans. Clara Bell and J. A. Fuller-Maitland
(New York, 1951), 11,72.
^ Percy A. Scholes, "Suite," Oxford Companion to Music (1955), p. 997.
* Peter Crossley-Holland, "Suite" Chamber's Encyclopedia (1955), VIII, 270.
^ A fugue is a musical form in which the main theme is repeated by the different voices
of the orchestra, one after the other. Rounds such as Three Blind Mice are in fugal form
although not fugues in the strict sense.
'Edward Dickinson, Study of the History of Music (New York, 1907), p. 66.
''"Suite," Grove's Dictionary of Miisic and Musicians (1954), VIII, 66.
* Plato, The Republic, trans. Francis McDonald Cornford (New York, 1945), p. 86.
'Farley K. Hutchins, Dietrich Buxtehude (Paterson, New Jersey, 1955), p. 12
'"Donald M. Ferguson, History of Musical Thought (New York, 1935), p. 237.
"Scholes, "Gavotte," Oxford Companion to Music (1955), p. 396.
" "Bouree," International Cyclopedia of Music and Musicians, (1946), p. 1827.
" "Gigue," Grove's Dictionary, VIII, 170.
'*E. Lockspeiser, "French Influences on Bach," Music and Letters, XVI (October,
1935), 312-320.
BIBLIOGRAPHY
Bauer, Marion and Ethel Peyser. How Music Grezv. New York : G. P. Putnam's Sons,
1925.
Bennett, S. W. Notes for phonograph recording /. S. Bach: Four Suites For OrcJicstra.
Vanguard, BG-530-531.
"Bourree," International Cyclopedia of Music and Musicians (1946), 1827.
Crossley-Holland, Peter. "Suite," Chamber's Encyclopedia (1955), VIII, 270.
Davidson, Archibald T. Bach and Handel. Cambridge, Massachusetts : Harvard Uni-
versity Press, 1951.
Dickinson, Edward. Study of the History of Music. New York : Charles Scribner's
Sons,
Ferguson,
1907.
Donald M. History of Musical Thought. New York: F. S. Crofts and
Company, 1935.
"Gigue," Grove's Dictionary of Music and Musicians (1954), VIII, 170.
Hutchins, Farley K. Dietrich Buxtehude. Paterson, New Jersey : Music Textbook
Company, 1955.
Landowska, Wanda. Music of the Past, trans. William Bradley. New York :
A. Knopf, 1924.
Alfred