Baroque Forms: Passacaglia

J.S. Bach - Passacaglia and Fugue in C Minor

Passacaglia and Fugue in c minor, BWV 582, is a piece for organ. The original autograph to the piece is lost, so it's existence is known only by several copies of the score. It's exact date of composition is unknown, but it is widely agree'd to be approximately between 1706 and 1713.

The passacaglia is in typical triple time, built upon an ostinato which is eight bars long, comprising almost entirely of alternating minims and crotchets. An ostinato of this length is unusual, but not unheard of. There is a total of 21 variations of the ostinato (including the initial entry). The passacaglia is followed by a double fugue consisting of 12 thematic entries. Both the passacaglia and fugue share the thematic material of the ostinato; the first subject is derived from the first half of the passacaglia ostinato, the second subject from a transformed second half of the ostinato. Both subjects are introduced at the beginning of the fugue, with a counter-subject following shortly afterwards.

The piece has been transcribed many times for many different arrangements, including orchestra, piano, wind band, brass band, hand bells and more.

My Response

First listened to organ version of this work and then for greater clarity to the piano version. I did enjoy listening to this piece, and it was interesting to see how the ostinato theme developed. Before looking at this piece more closely, I for some reason expected the ground bass of a passacaglia to be a much shorter motif. The piece has quite a dark and ominous tone for the most part, which I find appealing.


Handel - Passacaglia in G Minor

Handel's passacaglia is the sixth and final movement of his Keyboard Suite No.7, published in 1720. Its ostinato is built on the circle of fifths, traversing G, C, F, B, E, A, D, G with two chords per bar. This gives a four bar ostinato, consisting mostly of minims in the opening iteration. The ostinato then goes through a series of variations, each repeated once, varying between minims, quavers and semiquavers but with the harmony remaining the same. Aside from rhythmic variations, the material is also treated in terms of articulation, with some parts making extensive use of staccato, and others are elaborately decorated with trills or mordents. Two middle variations make an abrupt change to 12/8 compound time, giving an unexpected change of pace and meter.

My Response

I played this piece on piano years ago; I enjoyed it then, and still enjoy it now. At the time I didn't look into the structure of the piece, but now having done so it seems to be a very clear example of passacaglia form. I enjoyed seeing how a very basic ostinato based on the circle of fifths can be varied in many different ways, giving purpose and a sense of direction to the piece. I think this particular piece would be a great introduction for someone who is first learning about passacaglias, as its structure is so clear.