Introduction

Rameau clearly named the collection containing this work "Suites," but its content, mixing traditional dances with programmatic pieces, presents a new form. In particular, the second suite contains almost no dances, reminiscent of F. Couperin's ordres.

Suite No. 1 (Fourth Suite)

Suite No. 1 (Fourth Suite) begins with an Allemande, Courante, and Sarabande, showing glimpses of a traditional structure. However, this is followed by three programmatic pieces, and finally, a Gavotte with six variations, an irregular arrangement. The keys are unified in A minor and A major.

Allemande

The Allemande is a slow three-voice piece. It is woven with a cascading melody. The range spans both hands, and at the end of both the first and second halves, fluid toccata-like passagework appears. However, the relatively thick texture and continuous stepwise motion give the opening movement a sense of weight and composure.

Courante

The Courante has a somewhat unusual time signature for a French type: 6/4. Typically, French courantes are written in 3/2, and as dances, they are solemn and extremely slow. During the reign of Louis XIV, they were considered dignified pieces, even danced by the King himself at court balls. Rameau's piece, being written at double the speed, effectively employs light and dynamic arpeggios. However, it cannot be described as a nimble, scurrying Italian-type corrente. Typical characteristics of the French type can be seen in its slow contrapuntal writing and frequent hemiolas (appearing almost every four measures).

Sarabande

In the Sarabande, the tension of the preceding A minor is released, transitioning to A major, imbued with warmth and clarity. Although harmonic, it displays rich expressive power through appoggiaturas and dotted rhythms, creating nuanced shading. Furthermore, the passagework with chevron-shaped arpeggios in the middle section is beautiful. The harmonic progression based on third relationships in this section is excellent.

Programmatic Pieces

The following three pieces have titles. The dignified atmosphere of the preceding dances changes completely, unfolding freely and lightly. Contrapuntal voice writing is largely abandoned, resulting in music with a slow harmonic rhythm and clear division of roles between the right and left hands.

Les Trois Mains (The Three Hands)

“Les Trois Mains” (The Three Hands) is a piece primarily focused on rapid changes in register. In the latter half, the left hand takes on figures in the higher register, crossing over the right hand, while the right hand reaches into the bass clef range, and then suddenly ascends four octaves, presenting humorous content true to its title.

La Fanfarinette (The Little Fanfare)

“La Fanfarinette” (The Little Fanfare) well expresses the meaning of its title in the simple alternation of fifths and roots in the opening chords. However, the weighty chords do not last long, and the texture often thins out in the high register, so the piece as a whole is filled with lightness and charm rather than solemnity or brilliance.

La Triomphante (The Triumphant)

“La Triomphante” (The Triumphant) begins imitatively only at the start of each section. Through a dal segno, it takes on a rondo form with two couplets. The second couplet abruptly begins in the parallel minor, F-sharp minor, and develops boldly with sequential progressions and the appearance of diminished seventh chords.

Gavotte and Six Variations

The Gavotte and Six Variations, placed at the end of the suite, vary the gavotte's bass pattern as a theme in six different ways. In terms of type, it is similar to Bach's Goldberg Variations. However, the six movements presented here remain extremely monotonous, with melodies consisting only of continuous arpeggiated motifs accompanied by simple chords. Musically, it is by no means comparable to Bach's 30 variations. Furthermore, the harmonic progressions are mediocre, and the six variations can sound somewhat tedious. However, the rapid passagework would likely be effective for finger practice.