Salisbury his Pavan_. An excellent example of the
Loure is the well-known arrangement from Bach's third 'Cello sonata.
Chopin, in his works, has glorified both the Polonaise and the
Mazurka; Bizet, in his opera Carmen, has used the Habanera and the
Seguidilla, and there is a wonderful use of the Habanera rhythm in
Debussy's descriptive piece _Soiree dans Grenade_. The French composer
Ravel in his pianoforte piece _Pavane pour un enfant defunt_ has used
with remarkable effect the stately rhythm of that dance. The Spanish
composers, Albeniz and Granados, frequently employ national dance
rhythms in their pieces. The French composer Chabrier's _Bourree
Fantasque_ is a dazzling modernization of the old form; and his
_Espana_ for full orchestra fairly intoxicates us with its dashing
rhythms based upon the Jota and the Malaguena.[75] Debussy's
well-known piece _Hommage a Rameau_ is in the style of the Sarabande.
The allusions in literature to these dances are so frequent that only
a few can be cited. The very spirit of the Jig is given in Pope's line
"Make the soul dance upon a jig to Heaven." In speaking of the antics
of Sir Andrew Aguecheek in Twelfth Night, Shakespeare remarks--"I did
think by the excellent constitution of thy leg that it was formed
under the star of a Galliard." One of the most remarkable works of the
English composer John Dowland (born 1562) is entitled _Lachrymae, or
Seven Teares, figured in seven passionate Pavans_.

[Footnote 75: For a vivid description of these dances see Chabrier's
_Lettres a Nanette_, Paris, 1910.]

The Suite, by reason of its freedom in combining different rhythms and
moods, has appealed vividly to modern composers; and the literature of
our times contains a number of Suites which should be known to the
music-lover. In these modern Suites no attempt is made to conform to
the old conventional grouping of dances. The movements are in
different keys, are often based on rhythms of an exotic or
ultra-nationalistic type--as in Tchaikowsky and Dvo[vr]ak, or may
employ any material suggested by the fantastic imagination of the
composer--as in Debussy and Ravel. Among the most attractive modern
Suites may be cited: The _Peer Gynt_ (put together from incidental
music to Ibsen's play) and the _Holberg_ by Grieg; the two
_L'Arlesienne Suites_ by Bizet (written to illustrate Daudet's
romantic story)--the first, with its dainty Minuet and brilliant
Carillons (Peal of bells); Dvo[vr]ak's _Suite