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Passacaglia and Fugue in C minor (BWV 582) is an organ piece by Johann Sebastian Bach. Presumably composed early in Bach's career, it is one of his most important and well-known works, and an important influence on 19th- and 20th-century passacaglias: [1] Robert Schumann described the variations of the passacaglia as "intertwined so ingeniously that one can never cease to be amazed." [2]
The autograph manuscript of BWV 582 is currently considered lost; the work, as is typical for pieces by Bach and his contemporaries, is known only through a number of copies. There is some evidence that the original was notated in organ tablature. [3] It is not known precisely when Bach composed the work, but the available sources point to the period between 1706 and 1713. It is possible that BWV 582 was composed in Arnstadt soon after Bach's return from Lübeck [3] [4] (where he may have studied Buxtehude's ostinato works).
The first half of the passacaglia's ostinato, which also serves as the fugue's main subject, was most probably taken from a short work by the French composer André Raison, Christe: Trio en passacaille from Messe du deuxieme ton of the Premier livre d'orgue. [5] [6] It is possible that the second half of the ostinato was also taken from Raison, the bass line of Christe: Trio en chaconne of Messe du sixieme ton of the same publication is very similar. [5] See Example 1 for Bach's and Raison's themes.
However, some scholars dispute Raison's influence. Bach's work shares some features with north German ostinato works, most notably Buxtehude's two chaconnes (BuxWV 159 and 160) and a passacaglia (BuxWV 161), and there is clear influence of Pachelbel's chaconnes in several variations and the overall structure. [7]
The passacaglia is in 3
4 time, which is typical of the form. Bach's ostinato comprises eight bars, which is unusual but not unheard of: an ostinato of the same length is used, for example, in Johann Krieger's organ passacaglia. The opening of the piece, which consists of the ostinato stated in the pedal with no accompaniment from the manuals, is slightly more unusual, although this idea also occurs elsewhere, and may even have been used by Buxtehude. [8]
There are 20 variations in BWV 582/1. The first begins with a typical C minor affekt , "a painful longing" according to Spitta, similar to the beginning of Buxtehude's Chaconne in C minor, BuxWV 159. [9] Numerous attempts have been made to figure out an overarching symmetrical structure of the work, but scholars have yet to agree on a single interpretation. [10] Particularly important attempts were made by Christoph Wolff and Siegfried Vogelsänger . [11] Some scholars have speculated that there is a symbolic component to the structure of the work: for instance, Martin Radulescu argues that BWV 582/1 is "in the form of a cross". [12]
There is agreement among most scholars that the Passacaglia builds up until its climax in variation twelve.[ citation needed ] This is followed by three quiet variations, forming a short intermezzo, and then the remaining five variations end the work.
Bach performer and scholar Marie-Claire Alain suggested that the 21 variations are broken down into 7 groups of 3 similar variations, each opening with a quotation from a Lutheran chorale, treated similarly to the Orgel-Büchlein written at a similar time: [13]
Alain also points out that the numbers (21 repetitions of the Passacaglia ground and 12 statements of the fugue subjects) are inversions.
The passacaglia is followed, without break, by a double fugue. The first half of the passacaglia ostinato is used as the first subject; a transformed version of the second half is used as the second subject. [14] Both are heard simultaneously in the beginning of the fugue. A countersubject enters immediately afterwards and is then used throughout the piece. When the three subjects appear simultaneously, they never do so in the same combination of voices twice; this therefore is a permutation fugue, possibly inspired by Johann Adam Reincken's works. [15]
As the fugue progresses,[ when? ] Bach ventures into major keys (E♭ – relative to C minor – and B♭) and the time between the statements increases from 1–3 bars to 7–13.
The passacaglia has been transcribed for orchestra by Leopold Stokowski, [16] Ottorino Respighi, René Leibowitz, Eugene Ormandy, Sir Andrew Davis and Tomasz Golka and for piano by numerous composer/pianists including Eugen d'Albert, Georgy Catoire, Max Reger (in a version for 2 pianos), Fazıl Say, Krystian Zimerman, Émile Naoumoff [17] and Awadagin Pratt. It has also been arranged for a brass quintet by Neil Balm and performed by The Canadian Brass. A transcription for viol consort was recorded by the UK group Fretwork in 2005. In 2006, the passacaglia was transcribed for handbells by Kevin McChesney and recorded by Cast of Bronze from Dallas, Texas. The passacaglia was also transcribed by Donald Hunsberger for the Eastman Wind Ensemble (symphonic wind ensemble) and for the Eastman Trombone Choir (trombone octet). In 2009, the work was transcribed for string quartet by Nicholas Kitchen for performance by the Borromeo String Quartet.
In 1993, the Passacaglia only (arranged by Bert Lams) was recorded by Robert Fripp's group The Robert Fripp String Quintet in the studio album The Bridge Between. [18]
Guillermo Cides released his re-arrangement of Passacaglia for Chapman Stick and loop pedal on his album 'Primitivo' in 1998 and has performed this piece on stage on several occasions.
In Stokowski's orchestral transcription the whole of the coda is slow and fortissimo without the possibility of a final massive rallentando. He made six commercial recordings of it between 1928 and 1972.
Johann Pachelbel was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Dieterich Buxtehude was a Danish organist and composer of the Baroque period, whose works are typical of the North German organ school. As a composer who worked in various vocal and instrumental idioms, Buxtehude's style greatly influenced other composers, such as Johann Sebastian Bach and George Frideric Handel. Buxtehude is considered one of the most important composers of the 17th century.
A chaconne is a type of musical composition often used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line which offers a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. It originates and was particularly popular in the Baroque era; a large number of Chaconnes exist from the 17th- and 18th- centuries.
The passacaglia is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is often based on a bass-ostinato and written in triple metre.
The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach (1685–1750). The piece opens with a toccata section, followed by a fugue that ends in a coda. Scholars differ as to when it was composed. It could have been as early as c. 1704. Alternatively, a date as late as the 1750s has been suggested. To a large extent, the piece conforms to the characteristics deemed typical of the north German organ school of the Baroque era with divergent stylistic influences, such as south German characteristics.
Johann Adam Reincken was a Dutch/German organist and composer. He was one of the most important composers of the 17th century, a friend of Dieterich Buxtehude and a major influence on Johann Sebastian Bach; however, very few of his works survive to this day.
The sonatas and partitas for solo violin are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas in dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterly and expressive works ever written for solo violin.
The Partita in D minor for solo violin by Johann Sebastian Bach was written between 1717 and 1720. It is a part of his compositional cycle called Sonatas and Partitas for Solo Violin.
The Eight Short Preludes and Fugues, BWV 553–560, are a collection of works for keyboard and pedal formerly attributed to Johann Sebastian Bach. They are now believed to have been composed by one of Bach's pupils, possibly Johann Tobias Krebs or his son Johann Ludwig Krebs, or by the Bohemian composer Johann Caspar Ferdinand Fischer.
Toccata, Adagio, and Fugue in C major is an organ composition by Johann Sebastian Bach. As is the case with most other organ works by Bach, the autograph score does not survive. The earliest manuscript copies were probably made in 1719–1727. The title of the piece in these copies is given, as expected of organ literature of the time, simply as Toccata in C major. The piece is an early work, probably composed in the mid-to-late Weimar years, i.e. 1710–1717. It shares some similarities with other toccatas composed around the same time, such as BWV 538, BWV 540, and others: all show the influence of concerto style and form.
André Raison was a French Baroque composer and organist. During his lifetime he was one of the most famous French organists and an important influence on French organ music. He published two collections of organ works, in 1688 and 1714. The first contains liturgical music intended for monasteries and a preface with information on contemporary performance practice. The second contains mostly noëls.
Prelude (Toccata) and Fugue in E major, BWV 566 is an organ work written by Johann Sebastian Bach probably during his 4 month-stay at Lübeck or afterwards in the winter of 1705–1706. It comprises five sections and is an early work in grand form of Bach.
Wolfgang Friedrich Rübsam is a German-American organist, pianist, composer and pedagogue.
Prelude and Fugue in A minor, BWV 543 is a piece of organ music written by Johann Sebastian Bach sometime around his years as court organist to the Duke of Saxe-Weimar (1708–1713).
Fugue in G minor, BWV 578,, is a piece of organ music written by Johann Sebastian Bach during his years at Arnstadt (1703–1707). It is one of Bach's best known fugues and has been arranged for other voices, including an orchestral version by Leopold Stokowski.
Passacaglia in D minor is an organ work by Dieterich Buxtehude. It is generally acknowledged as one of his most important works, and was possibly an influence on Bach's Passacaglia and Fugue in C minor, as well as Brahms' music.
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ.
Chaconne in D minor is an organ chaconne by Johann Pachelbel. It is one of the six surviving chaconnes by the composer, and one of his best known organ works.
Chaconne in F minor is an organ chaconne by Johann Pachelbel. One of the six surviving chaconnes by the composer, it is one of his best known organ works.
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