Dance Suite Joseph Horovitz

Titel / Title: Dance Suite
Untertitel / Subtitle:
Komponist / Composer: Joseph Horovitz
Arrangeur / Arranger:
Instrumentation: Concert Band


This work follows a tradition established at the end of the seventeenth century: the creation of a musical structure by using a succession of dance movements, composed in such a way that a satisfying cumulative effect is produced. This method can be traced, starting from the works of Corelli, through the so-called Mannheim school to Mozart, and on to Brahms and beyond. Indeed, most classical symphonies owe their origin to this tradition.

Each of the three movements of Dance Suite contains themes and motifs which are based on clearly identifiable dance patterns, more or less traditional and tonal in harmonic language.

The first movement is a mixture af march- and gavotte elements, but these occur as variants of a single main theme. The tempo is brisk and the strongly accentuated four-beat measures creates a feeling of motoric drive. This is often counteracted by unexpected syncopation and surprising modulations. Horovitz dispenses with a second subject in favour of a very elaborate development, which makes the final quotation of the theme into a sort of recapitulation.

In contrast, the second movement is a gentle, gracefully undulating dance, using two steady beats in every measure. Here there are two themes, the first more rhythmic, the second more lyrical. The second theme always uses the first as accompaniment, rather as a singer might use a guitar. Both themes undergo several modulations before returning to the home key. A Spanish flavour pervades the rhythmic and melodic elements of this movement.

The finale is a fast rondo (in 6/8) whose main theme is best described as a tarantella. This alternates several times with a more solid, rustic theme (in 2/4). However, the main theme is recalled in varying guises, including a parody Latin-American version. The orchestration becomes mor elaborate and exciting as the movement proceeds, and the whole work ends with a coda recalling the main rond-theme with an enthusiastic flourish.

Joseph Horovitz wrote about Dance Suite: Most of the melodies and rhythms in the Dance Suite have been in my thoughts for many years, ever since my eraly career as conductor of ballet, and later as composer of some sixteen ballet scores. Some of these ideas were sketched on manuscript paper, others remained in my head and even in my dreams. The composition of this work gave me the chance to search among these half-subconscious sources and to offer my discoveries to the wind-orchestra repertoire.

INSTRUMENTE
0 Full Score A3
1 Full Score
1 Various I
1 Piccolo
8 Flute
2 Oboe
2 Bassoon
1 Clarinet Eb
4 Clarinet I
4 Clarinet II
4 Clarinet III
1 Bass Clarinet
2 Alto Saxophone I
2 Alto Saxophone II
2 Tenor Saxophone
1 Baritone Saxophone
2 Cornet I
2 Cornet II
2 Cornet III
2 Horn I + II Eb
2 Horn I + II F
2 Horn III + IV Eb
2 Horn III + IV F
2 Trombone I C
1 Trombone I Bb (TC)
1 Trombone I Bb (BC)
2 Trombone II C
1 Trombone II Bb (TC)
1 Trombone II Bb (BC)
2 Trombone III C
1 Trombone III Bb (TC)
1 Trombone III Bb (BC)
2 Baritone C
2 Baritone Bb (BC)
2 Baritone Bb (TC)
2 Bas Bb (TC)
2 Bas Bb (BC)
2 Bas Eb (TC)
2 Bas Eb (BC)
4 Tuba C
1 Stringbass
1 Harp
1 Percussion I
1 Percussion II
1 Percussion III
1 Timpani

This work follows a tradition established at the end of the seventeenth century: the creation of a musical structure by using a succession of dance movements, composed in such a way that a satisfying cumulative effect is produced. This method can be traced, starting from the works of Corelli, through the so-called Mannheim school to Mozart, and on to Brahms and beyond. Indeed, most classical symphonies owe their origin to this tradition.Each of the three movements of Dance Suite contains themes and motifs which are based on clearly identifiable dance patterns, more or less traditional and tonal in harmonic language.The first movement is a mixture af march- and gavotte elements, but these occur as variants of a single main theme. The tempo is brisk and the strongly accentuated four-beat measures creates a feeling of motoric drive. This is often counteracted by unexpected syncopation and surprising modulations. Horovitz dispenses with a second subject in favour of a very elaborate development, which makes the final quotation of the theme into a sort of recapitulation.In contrast, the second movement is a gentle, gracefully undulating dance, using two steady beats in every measure. Here there are two themes, the first more rhythmic, the second more lyrical. The second theme always uses the first as accompaniment, rather as a singer might use a guitar. Both themes undergo several modulations before returning to the home key. A Spanish flavour pervades the rhythmic and melodic elements of this movement.The finale is a fast rondo (in 6/8) whose main theme is best described as a tarantella. This alternates several times with a more solid, rustic theme (in 2/4). However, the main theme is recalled in varying guises, including a parody Latin-American version. The orchestration becomes mor elaborate and exciting as the movement proceeds, and the whole work ends with a coda recalling the main rond-theme with an enthusiastic flourish.Joseph Horovitz wrote about Dance Suite: Most of the melodies and rhythms in the Dance Suite have been in my thoughts for many years, ever since my eraly career as conductor of ballet, and later as composer of some sixteen ballet scores. Some of these ideas were sketched on manuscript paper, others remained in my head and even in my dreams. The composition of this work gave me the chance to search among these half-subconscious sources and to offer my discoveries to the wind-orchestra repertoire.

[FR]
This work follows a tradition established at the end of the seventeenth century: the creation of a musical structure by using a succession of dance movements, composed in such a way that a satisfying cumulative effect is produced. This method can be traced, starting from the works of Corelli, through the so-called Mannheim school to Mozart, and on to Brahms and beyond. Indeed, most classical symphonies owe their origin to this tradition.Each of the three movements of Dance Suite contains themes and motifs which are based on clearly identifiable dance patterns, more or less traditional and tonal in harmonic language.The first movement is a mixture af march- and gavotte elements, but these occur as variants of a single main theme. The tempo is brisk and the strongly accentuated four-beat measures creates a feeling of motoric drive. This is often counteracted by unexpected syncopation and surprising modulations. Horovitz dispenses with a second subject in favour of a very elaborate development, which makes the final quotation of the theme into a sort of recapitulation.In contrast, the second movement is a gentle, gracefully undulating dance, using two steady beats in every measure. Here there are two themes, the first more rhythmic, the second more lyrical. The second theme always uses the first as accompaniment, rather as a singer might use a guitar. Both themes undergo several modulations before returning to the home key. A Spanish flavour pervades the rhythmic and melodic elements of this movement.The finale is a fast rondo (in 6/8) whose main theme is best described as a tarantella. This alternates several times with a more solid, rustic theme (in 2/4). However, the main theme is recalled in varying guises, including a parody Latin-American version. The orchestration becomes mor elaborate and exciting as the movement proceeds, and the whole work ends with a coda recalling the main rond-theme with an enthusiastic flourish.Joseph Horovitz wrote about Dance Suite: Most of the melodies and rhythms in the Dance Suite have been in my thoughts for many years, ever since my eraly career as conductor of ballet, and later as composer of some sixteen ballet scores. Some of these ideas were sketched on manuscript paper, others remained in my head and even in my dreams. The composition of this work gave me the chance to search among these half-subconscious sources and to offer my discoveries to the wind-orchestra repertoire.

[NL]
Dit werk werd geschreven volgens een traditie die ontstond op het einde van de zeventiende eeuw: het scheppen van een muzikaal geheel door het gebruik van een opeenvolging van dansbewegingen, liefst naar een climax toe. Deze werkwijze kan reedsw bij Corelli ontwaard worden, maar ment treft ze ook aan bij componisten van de zogeheten School van Mannheim, ook bij Mozart, bij Brahms en ook nog later. De meeste klassieke symphonieën hebben hun oorsprong aan deze traditie te danken.Elk van de drie delen van deze Dance Suite bevat thema's en motieve die op duidelijk herkenbare danspatronen gebaseerd zijn, zij zijn eerder traditioneel en duidelijk tonaal.Het eerste deel is een mengsel van mars- en gavotte-elementen, die als variatie op één enkel hoofdthema voorkomen. Het tempo is levendig en de sterk geaccentueerde maten van vier zorgen als het ware voor een stuwende drijfkracht. Dit effect word dan weer vaak tegengegaan door onverwachtse syncopen en verrassendemodulaties. Hierna volgt een uitgewerkte ontwikkeling die met een laatste aanwending van het thema voor een soort samenvatting zorgt.Als contrast met het eerste deel is de tweede beweging een lieftallige, bevallig golvende dans met twee vaste tijden in elke maat. Hier zijn er twee thema's: het ene ritmisch, het andere lyrisch. Het tweede thema gebruikt steeds het eerste als begeleiding, net zoals een zanger een gitaar gebruikt. Beide thema's ondergaan diverse modulaties alvorens tot de originele toonaard terug te keren. Ritme en melodie zijn duidelijk Spaans getint.De finale is een vlug rondo in 6/8 waarvan het thema een tarantella is. Deze wordt afgewisseld met een onverstoorbaar landelijk thema in 2/4. Het hoofdthema wordt toch onder verschillende vermommingen, zelfs in een Latijns-Amerikaanse parodie, herhaald. De orkestratie wordt steeds maar ingewikkelder en opwindender naarmate de beweging vordert; het werk eindigt met een coda dat het rondothema tot volle ontplooing laat komen.Joseph Horovitz schreef over Dance Suite: De meeste melodieën en ritmes uit deze danssuite had ik reeds sinds jaren in mijn hoofd, namelijk reeds toen ik dirigent bij een balletgezelschap was en zowat zestien grote partituren voor ballet componeerde. Sommige ideeën had ik opgeschreven, andere bleven in mijn gedachten of zelfs in mijn dromen! De compositie van dit werk gaf mij de kans om tussen deze halfbewuste bronnen op speurtocht te gaan en de vruchten van mijn ontdekkingstochten aan het repertoire van het harmonieorkest toe te voegen.

Besetzungsliste / Instrumentation:

0 Full Score A3
1 Full Score
1 Various I
1 Piccolo
8 Flute
2 Oboe
2 Bassoon
1 Clarinet Eb
4 Clarinet I
4 Clarinet II
4 Clarinet III
1 Bass Clarinet
2 Alto Saxophone I
2 Alto Saxophone II
2 Tenor Saxophone
1 Baritone Saxophone
2 Cornet I
2 Cornet II
2 Cornet III
2 Horn I + II Eb
2 Horn I + II F
2 Horn III + IV Eb
2 Horn III + IV F
2 Trombone I C
1 Trombone I Bb (TC)
1 Trombone I Bb (BC)
2 Trombone II C
1 Trombone II Bb (TC)
1 Trombone II Bb (BC)
2 Trombone III C
1 Trombone III Bb (TC)
1 Trombone III Bb (BC)
2 Baritone C
2 Baritone Bb (BC)
2 Baritone Bb (TC)
2 Bas Bb (TC)
2 Bas Bb (BC)
2 Bas Eb (TC)
2 Bas Eb (BC)
4 Tuba C
1 Stringbass
1 Harp
1 Percussion I
1 Percussion II
1 Percussion III
1 Timpani