Passacaglia
The Passacaglia, Passacaille or Pasacalle (Spanish pasar una calle " a road race") is originally a Spanish folk dance. In the 16th century, the Spanish folk dance came to France and Italy, and was listed there as a stage dance.
Features
The musical form of the passacaglia is an ostinato variation. About a usually four - or eight-bar solid bass line, the basso ostinato, a sequence of variations. In contrast to the closely related Chaconne usually the subject is in the Passacaglia, the unchanged base for the variations, while in the Chaconne can change the theme and the always consistent ( ostinato ) harmonic scheme forms the invariable basis for the variations. However, the boundaries between the two forms are fluid and still form discussion. The most famous Passacaglia the baroque era is the Passacaglia in C minor for organ ( BWV 582 ) by Johann Sebastian Bach. Also, the Crucifixus in the B minor Mass is structurally a passacaglia.
Since the era of the late Romantic Orgelpassacaglien were under the influence of Bach's organ works again increasingly composed (often also with subsequent joint). Even neoclassical composers like made use of this form. Important examples:
- Johann Nepomuk David: Introduction and Passacaglia on "Wake up, wake up, you German land"
- Sigfrid Karg- Elert: Passacaglia and Fugue on BACH, Op 150
- Wilhelm Middelschulte: Passacaglia in D minor
- Flor Peeters: Passacaglia e Fuga in E minor op 42
- Georg Schumann: Passacaglia and Finale on BACH, Op 39, Verlag FEC Leuckart, Leipzig 1905 ( first edition )
- Josef Gabriel Rheinberger: Passacaglia from the 8th Organ Sonata in E minor, Op 132
- Gerbert mother Passacaglia for organ
Important passacaglia 20th century compositions originate from Maurice Ravel, for example in his Piano Trio, Dmitri Shostakovich, some slow movements of larger works ( first in his opera Lady Macbeth of the Mtsensk District ( interlude ); Symphony No. 8, 2nd Piano Trio, 1. Violin Concerto, Symphony 15 ) wrote in this form. Among the most famous Orchesterpassacaglien also includes the Passacaglia in D minor op 1 by Anton Webern and the Passacaglia in the 4th movement of Symphony No. 4 by Johannes Brahms.
Interpretation
About the interpretation of the Passacaglia give historical information sources. The French theorists agree on the tempo relation between Passacaglia and Chaconne. Rousseau sets the pace of Passacaille as " plus que lent dans les Chaconnes ordinaires ". Brossard and Rameau / d' Alembert join the to, but complement both the term " plus tendre ".
Precise details are l' Affilard in his " Principes ". The pace of the Chaconne is with him ♩ = 156 MM His information on the passacaglia are considerably slower and be ♩ = 106 MM
The German theorists have different views about the pace. Walther noted for Passacaille "that they ordinairement slower than the Chaconne " go. Quantz, however, requires that the Passacaille " almost a little quicker " will be played as the chaconne whose pace he indicates with ♩ = 160. Türk summarizes 1789, the contrary opinions: "The Passacaille is a bit slower, or how others want very nearly gespielet a little quicker than the Chaconne ."
However, one must not forget that this information is of most theorists later periods than the actual dance originate, and also take into account the time certainly normal fluctuations of the modes and styles rare. See also the story eg the minuet.