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LC control 85129761
Topical headingSuites
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Serenades (Instrumental music)
Scope noteHere are entered collections of suites for various mediums of performance. Individual suites and collections of suites for a specific medium of performance are entered under the heading followed by the medium. Works about the suite are entered under the heading Suite (Music).
Subject example tracingNote under Suite (Music)
Found inNew Grove, 2nd ed. WWW site, July 18, 2001 (Suite: in a general sense, any ordered set of instrumental pieces meant to be performed at a single sitting; during the Baroque period, an instrumental genre consisting of several movements in the same key, some or all of which were based on the forms and styles of dance music; then and later, a group of pieces extracted from a larger work, especially an opera or ballet; the term did not come into common use until the last quarter of the 17th century, but the kinds of set to which it was eventually applied had a long history, and pairing of dances may be found as early as the 14th century; in Vienna the transition from suite to sonata took place behind the screen of the various terms for entertainment music: divertimento, serenade, cassation, partita, and notturno; the term divertimento, which was the preferred one for any non-orchestral ensemble piece, light or serious, between 1750 and 1780, overlapped with partita, which was a similarly general designation up to about 1760; both could be used for keyboard music as well; "divertimento" carried no implication regarding the number or order of movements or the key-scheme. Divertimento: musical genre, prominent in the Classical period; its structure is normally cyclic; may comprise 1-9 movements, and occasionally as many as 13; its larger manifestations are thus suite-like in movement structure. Cassation: term used 1750-1775 in southern Germany, Austria, and Bohemia as a title of a composition or of a single movement; the soloistic cassation is stylistically related to the divertimento, the orchestral cassation to the serenade. Serenade: musical form, contemporary with and related to other mid-18th-century orchestral genres including the symphony and the orchestral partita; used in its Italian form, serenata, in the late 16th century as a title for vocal works, and in the 17th it was used for celebratory works for voices and instruments; by the end of the century it was applied to purely instrumental pieces, a usage accepted in the 18th century; it then came to stand, if loosely, for a work of a particular character, formal structure and instrumentation, of which Mozart's serenades are the chief examples; such works were composed mainly in Italy, Austria, Germany, and Bohemia; it was the practice to perform them at about 9 p.m.; the orchestral serenade of the 19th century resembles the symphony or suite in construction. Notturno: term used in the 18th century mainly for works performed outdoors, not in the evening but at night (generally around 11 p.m.); the form is related to the serenade; the later nocturne for solo piano had no direct connection with the notturno. Nachtmusik: German form of notturno; Mozart often preferred this term to the Italian one, particularly for works of relatively simple scoring.)