for Small Orchestra_,
op. 39, with its sprightly Polka and impassioned Furiant;
Tchaikowsky's five Orchestral Suites of which the best known are the
_Casse-Noisette_ with its exotic rhythms and novel orchestral effects,
the _Mozartiana_ and the third which closes with a brilliant
Polonaise; Brahms's _Serenades_ for orchestra; Charpentier's
_Impressions of Italy_ in which there is an effective use of Italian
rhythm and color; MacDowell's _Indian Suite_, with several of the
themes based on native tunes; the fascinating orchestral Suite
_Adventures in a Perambulator_ by John Alden Carpenter; Arthur
Whiting's _Suite Moderne_ for pianoforte; _Stevensoniana_, (based on
stanzas from Stevenson's _Child's Garden of Verses_) an orchestral
Suite in four movements by Edward B. Hill; Debussy's _Suite
Bergamasque_ in which is found the oft-played _Clair de Lune_;
Ravel's[76] _Mother Goose_, a delightful work--and by the same
composer the _Daphnis and Chloe_ Suite, the material drawn from an
opera of the same name. In modern literature easily the most
celebrated and brilliant example of this type is the _Scheherazade
Suite_ (based on the Arabian Nights) for full orchestra by
Rimsky-Korsakoff. This work in the genuine poetic quality of its
themes, in its marvellous descriptive power and in the boldness of its
orchestral effect remains unsurpassed.

[Footnote 76: See also _Le Tombeau de Couperin_ in which is a very
novel Rigaudon.]

CHAPTER VII

THE OLDER RONDO FORM

One of the earliest instrumental forms to be worked out[77] was the
Rondo, which is merely an extension of the _three-part_ principle of
"restatement after contrast" and which, by reason of its logical
appeal, has retained its place to this day. Originally the Rondo was a
combination of dance and song; that is, the performers sang and danced
in a circle--holding one another's hands. The music would begin with a
chorus in which all joined, one of the dancers would then sing a solo,
after which all would dance about and repeat the chorus; other solos
would follow, the chorus being repeated after each. The characteristic
feature, then, of this structure is the _continual recurrence_ to a
principal motive after intervening contrasts--hence the name Rondo
(French, Rondeau); exemplifying a principle found not only in
primitive folk-songs and dances but in literature, _e.g._, many of the
songs of Burns and the Rondeaux of Austin Dobson. For it is obvious
that the f