Page:Pratt - The history of music (1907).djvu/327

 Both doubles and rondos were sometimes inserted among the extra movements of the suite.

The formal unity of both these forms inheres in the identity of the theme. Hence both are merely analogous to the suite.

All these were preëminently forms of chamber music, and hence were felt to be especially suitable for keyboard instruments. Their development was a symptom of the growing importance of the clavichord and harpsichord. While all of them had evident artistic limitations and tended always toward an extreme of formal precision, yet their popularity served a useful purpose. In the hands of a few masters they attained distinction and real power.

In the treatment of the suite different countries showed varying tendencies. In France the essential dance-patterns were exalted for their own sake and their adaptation to the keyboard was prompt and able, but, instead of developing the architectonic possibilities of the form as a whole, composers tended to make merely picturesque or piquant series of sketches conceived in a half-dramatic spirit and strung together like the scenes in a pantomime. In Germany, on the other hand, the suite was early seized by organ-composers as a field for the exercise of polyphonic skill, though with a true sympathy for the dance idea underlying it. In Italy, again, the strictness of the dance-patterns was notably neglected in favor of a free thematic treatment, and the violin was more employed as a vehicle than the keyboard.

François Couperin (d. 1733) came of a family of organists and clavecinists celebrated from about 1650 till 1800, all of them at some time players at St. Gervais in Paris. Born in 1668 and trained by the organist Thomelin, he became organist at the king's private chapel in 1693 and at St. Gervais in 1698. Though most famous in his day as an organist, he is now counted one of the founders of harpsichord music. Besides an early set of pieces (probably before 1700), he issued four notable collections (1713-30), an instruction-book (1717), and considerable chamber music. His pieces are grouped in 'ordres' of very varied plan, usually fancifully entitled and arranged in a half-theatric 'program.' They are a link between the operatic ballet and the keyboard suite. Their style attracted wide notice and imitation. With them begins the exuberant development of keyboard 'graces' or embellishments that continued through the century.

Louis Marchand (d. 1732), a close contemporary of Couperin, was also a leading Parisian organist before 1700 and soon known as a clavecinist (books, 1702-3). Exiled in 1717, he visited Dresden, where he ignominiously ran away from a contest in organ-playing with Bach. Later he was allowed to return to Paris, and taught many pupils. He was notoriously conceited, but had ability as player and composer.