The article examines the main aspects of the formation of the piano suite genre in the works of various composers

Аннотация

The article examines the main aspects of the formation of the piano suite genre in the works of various composers. Information is presented on the leading trends in the development of the piano suite and their features in different periods of the genre's development. Анотация: В статье рассматриваются основные моменты формирования жанра фортепианной сюита в творчестве разных композиторов. Представлена информация о ведущих тенденциях в развитии фортепианной сюиты и их особенности в разные периоды развития жанра. Key words: Piano, suite, world classical music, musical education, musical analysis, composer, baroque, romanticism, contemporary music, piano suite. Ключевые слова: Фортепиано, сюита, мировая классическая музыка, музыкальное воспитание, музыкальный анализ, композитор, бароко, романтизм, современная музыка, фортепианная сюита. Introduction: The genre of suite in musical culture has always remained in the focus of composer's attention. The periods of the suite's existence were replaced by new turns in the evolution of this genre. This is confirmed, for example, by the birth of a "new suite" in the work of romantic composers after the displacement of this genre in the second half of the 17th century by symphony and instrumental concerts. The reason for the genre's vitality lies in the fact that the suite was formed as a genre of partial canonization. This initially presupposed individualization of compositional solutions, including various national, new "fashion" dances and concert genres of their time in the suite structure. Moreover, the diversity of the genre composition of the suite by various authors indicates the extraordinary mobility of its genre structure: "the suite presents the author with freedom in choosing, interpreting, and arranging parts". This also contributes to the great vitality of the genre under study. The suite's receptiveness to new styles, creative explorations, and experiments has served as a source for its diverse manifestations in piano and chamber instrumental music. Researchers have established that the birth of the suite as an independent genre of instrumental music dates back to the mid-16th century - the time when dance cycles emerged. 108 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference Main part: In the Baroque era, two main aesthetically equal types of suite existed in musical practice - dance and programmatic. The first of these styles developed with J. J. Froberger and received classical treatment in the works of G. F. Handel and J. S. Bach, while the second was outlined by English virginalists and reached its lavish peak in the keyboard suites of F. Couperin. The expansion beyond the purely dance sphere, which contributed to broadening the range of expressive means and enriching the palette of imagery, became apparent even in the early stages of the suite's formation. Thus, according to most researchers of the suite genre's history, its origins lie in the works of English virginalists who emerged as a national school at the end of the 16th century, represented by William Byrd, John Bull, Orlando Gibbons, and Giles Farnaby. A distinctive feature of English virginal music was its emphatically secular character. According to O. Sokolov, who examines the typological system of genres, the compositions of English virginalists - unique musical pictures - can be considered the first examples of the programmatic suite genre alongside the works of French harpsichordists. Interestingly, the researcher points to pictorialism as the most common phenomenon in the field of programmatic music. The school of French harpsichordists, such as L. Marchand, J.F. Dandrieu, F. Dagincourt, L.-C. Daquin, and Louis Couperin, addresses both dance and programmatic types of suites. French harpsichordists' suites, unlike the German variety of the genre consisting solely of dance movements, were structured more freely. They rarely relied on the strict sequence of allemande - courante - sarabande - gigue. However, programmaticism gained prominence in the composition of suites by 18th-century French harpsichordists. In most cases, these suites represent collections of genre and landscape musical sketches (up to 20 pieces or more in a suite). The programmatic variety of the suite genre reaches its peak in the keyboard suites of François Couperin, whose work became the pinnacle of the French harpsichord school. The well-known stable formula of a suite consisting of a sequence of four dances was based on the logic of alternating fast and slow motor movements, contrasting collective and solo dances. In this form, the keyboard suite was established in the first half of the 17th century in the works of the German composer J.J. Froberger. The genre of keyboard suite occupies a central place in the composer's oeuvre. In his suites, the principle of progressive tempo polarization (medium - fast - slow - fastest) is preserved, and the intonational-thematic and tonal unificatio