title: Suite vs Sonata in the Baroque Era
metadata.name: dc.contributor.author
metadata.value: Bocharov, Yuri S.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2020-09-04T09:00:35Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2020-09-04T09:00:35Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2020-06
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Bocharov, Yuri. “Suite vs Sonata in the Baroque Era”. Vestnik of Saint Petersburg University. Arts 10, no. 2 (2020): 210–229.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2020.202
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/19174
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article focuses on the suite and sonata as two important genres of instrumental music of the Baroque era. The author draws attention to the widespread misconceptions that Baroque suites were usually built on the basis of four dances: allemande, courante, sarabande and gigue, and Baroque sonatas in general were divided into 2 types — church (sonata da chiesa) and chamber sonata (sonata da camera). He also points to the historical mistake in defining the form of any four-movement Baroque composition (“slow — fast — slow — fast”) as a da chiesa cycle, as well as to the principle error of the traditional interpretation of the sonata da camera as a suite based on the inaccurate translation of the original definition from Sébastien de Brossard’s “Dictionnaire de Musique” (1703). The main idea of the article is that the common comparison of suites and sonatas as two different genres of Baroque instrumental music is possible only in terms of modern musical practice. However, in the Baroque era, the genres, which we call sonata and suite, were actually different phenomena, and their comparison was largely meaningless. Baroque sonata was a form of multi-movement musical work intended to be performed entirely while the suite was formed from many separate and completed pieces; it was not a united work ordinarily. Despite the fact that suites were often formed on the basis of one or another typological principle, they, as a rule, turned out to be nothing more than repertoire collections for learning to play musical instrument or for playing music at home. And although multi-movement orchestral suites, unlike solo ones, had a better chance for full performance, they were also not generally considered as concert works, but were used mainly as a repertoire for Musique de Table, Music for a Firework, etc.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 10; Issue 2
metadata.lang: -
metadata.name: dc.subject
metadata.value: Baroque
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: instrumental music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: suite
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: sonata
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: da chiesa
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: da camera
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: genre
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: form
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: composition
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Suite vs Sonata in the Baroque Era
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 210-229.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/19174/1/210-229.pdf
resources.format: Adobe PDF
resources.size: 4,64 MB