Klasikinės sarabandos bruožų modifikavimas J.  S.  Bacho Partitose klavyrui (BWV 825-839)
Modification of the features of the classical sarabande in J. S. Bach’s Partitas for claviers (BWV 825-839)

Summary/Abstract: The dance suite that was firmly established in the genre hierarchy of the baroque epoch under- went a long and dynamic formation process before the composition of the classical dance suite proposed by J. J. Froberger became permanent. Influenced by the trajectory of geographical spread, historical and political situation, prevailing composition principles and traditions, composers’ personal inventiveness or talent, early dance suites underwent more than one transformation before features characteristic of every dance were formed. The sarabande, which became one of the four main suite dances, can be counted as the part of the suite that has experienced the most distinct genre changes. Bach’s Sarabandes of six Partitas for clavier (BWV 825–839) can be considered the farthest point of sarabande evolution mostly removed from the earliest Spanish sarabande source.In Bach’s oeuvre, the sarabande became an expressive instrumental piece for soloist where the performer has the chance to demonstrate improvisational capabilities, technical mastery, as well as stylistic knowledge of baroque melismata. Meanwhile, the classical dance sarabande was, on the contrary, rather strict and most often performed by an instrument ensemble. Born in Spain in the 16th century and appearing in various images (as a fiery dance, a form of poetry, and part of religious processions) the sarabande acquired new features in Italy. There it became an instru- mental rather than a sung genre, acquired a four-bar phrase structure as well as typical rhythmic formulas with a stress on the second part of the bar. In the 17th century, the sarabande genre was completely formed in the French court dances. The following genre features are characteristic of the French, i. e. classical, sarabande: Clearly defined dance rhythm (triple metre, syncopes, hemiolas); Clear phrase structure (four-bar phrase, question and answer principle); Slow, convenient to dance tempo; Clear, simple harmony, harmonically closed phrases; Early two-part piece form.The dance suite that was firmly established in the genre hierarchy of the baroque epoch underwent a long and dynamic formation process before the composition of the classical dance suite proposed by J. J. Froberger became permanent. Influenced by the trajectory of geographical spread, historical and political situation, prevailing composition principles and traditions, composers’ personal inventiveness or talent, early dance suites underwent more than one transformation before features characteristic of every dance were formed. The sarabande, which became one of the four main suite dances, can be counted as the part of the suite that has experienced the most distinct genre changes. Bach’s Sarabandes of six Partitas for clavier (BWV 825–839) can be considered the farthest point of sarabande evolution mostly removed from the earliest Spanish sarabande source.In Bach’s oeuvre, the sarabande became an expressive instrumental piece for soloist where the performer has the chance to demonstrate improvisational capabilities, technical mastery, as well as stylistic knowledge of baroque melismata. Meanwhile, the classical dance sarabande was, on the contrary, rather strict and most often performed by an instrument ensemble. Born in Spain in the 16th century and appearing in various images (as a fiery dance, a form of poetry, and part of religious processions) the sarabande acquired new features in Italy. There it became an instrumental rather than a sung genre, acquired a four-bar phrase structure as well as typical rhythmic formulas with a stress on the second part of the bar. In the 17th century, the sarabande genre was completely formed in the French court dances. The following genre features are characteristic of the French, i. e. classical, sarabande:Clearly defined dance rhythm (triple metre, syncopes, hemiolas);Clear phrase structure (four-bar phrase, question and answer principle); Slow, convenient to dance tempo (MM =69);Clear, simple harmony, harmonically closed phrases; Early two-part piece form.The Sarabandes in J. S. Bach’s Partitas for clavier reflect not only characteristics of the sarabande which took years to form, but also the metamorphosis of the sarabande as a genre. The study of J. S. Bach’s Partitas for clavier Sarabandes revealed that they can be divided into two groups: 1. In the Sarabandes of Partitas No. 1, 2 and 5, the main features of the classical dance sara bande should be identified (characteristic rhythm – upbeat to the first part of the bar, syncopes, hemiolas; tempo suitable for a dance, clear simple harmony, harmonically closed phrases; early two-part form of the piece; four bars, clear, most often 1+1+2 structure phrase). However, in the However, in the case of every Sarabande the composer employed different dance and non-dance (i. e. characteristic only of instrumental music) strategies of feature interaction (very slow tempo, musical texture with many features of polyphony, upbeat). Analysis showed an interesting paradox – in all three Sarabandes mentioned, the presence of the features of the classical dance sarabande does not necessarily determine the dance character of the Sarabande.2. In the Sarabandes of Partitas No. 3, 4 and 6, the features of the early sarabande become of secondary importance. Although every one of them has features characteristic of the classical sarabande (in the Sarabande of the third Partita the tempo and the early two-part form of the piece fit for dance is preserved, while in the fourth Sarabande only the dance tempo is kept), it should be claimed that the main dance elements in them are employed episodically or not used at all, and the Sarabandes should be treated as pieces of instrumental-concert genre.Therefore, in the Sarabandes of Bach’s Partitas No. 1, 2 and 4 traditional sarabande’s dance fea- tures dominate. Meanwhile, in the Sarabandes of Partitas No. 3, 5 and 6 dance elements are almost altogether ignored or treated very loosely. Placing accent on the dominance of the features of dance sarabandes in Bach’s Partitas for clavier, the following regularities of Sarabande sequence become clear. From analysis of the aspects of the features of composing principles, rhythm and texture of Bach’s Sarabandes of Partitas for clavier it became clear that they can be placed in a symmetrical concentric form. The central third and fourth Sarabandes are almost devoid of the traditional sarabande’s features; they are framed by the second and fifth Sarabandes that have many features characteristic of many traditional classical sarabandes. Sarabandes of Partitas No. 1 and 6 on the sides have many improvisational features with two contrasting lines dominating – a harmonic base and a soprano lavishly embellished by Italian-style melodic diminutions. When analysing Bach’s Partitas for clavier from the thematic material point of view, it should be pointed out that the characteristic features of the first five Sarabandes are synthesised in the final, sixth, Sarabande. Its harmonic base is joined to the lavishly embellished Italian-style melodic diminutions in the soprano part from the first Sarabande. The rich harmony of the sixth Sarabande joins it with the Sarabande of the second Partita. Dotted centreè grave rhythm reminds of the fifth Sarabande. The upbeat joins the sixth Sarabande with the third and fifth Sarabandes. The Sarabande of the final Partita is written in a three-part form that is not characteristic of dace, while this feature joins it with the fourth Sarabande that has the form of the early sonata.

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