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]
One of the manuscript copies of BWV 582, first page
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.
The ostinato of Bach's passacaglia is shown in the center; the corresponding theme from Raison's works are shown above (Christe: Trio en passacaille) and below (Christe: Trio en chaconne). Although the Trio en chaconne is not identical to Bach's theme, it shares with it a similar construction and the same fall of a fifth at the end.
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 [de].[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]
Bars 8–12, the top part spells out the opening notes of "Nun komm' der Heiden Heiland"
Bars 24–48, a cantilena spells out "Von Gott will ich nicht lassen"
Bars 49–72, the scales are a reference to "Vom Himmel kam der Engel Schar"
Bars 72–96, recalling the "star" motif from "Herr Christ, der Ein'ge Gottes-Sohn"
Bars 96–120, ornamented figure similar to that in "Christ lag in Todesbanden" accompanies theme in the soprano then moving successively to alto and bass
Bars 144–168 "Ascending intervals in bass recall the Easter chorale "Erstanden ist der heil'ge Christ".
Alain also points out that the numbers (21 repetitions of the Passacaglia ground and 12 statements of the fugue subjects) are inversions.
Fugue
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.
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.
Virgil Fox, organ, Bach Live at Fillmore East, Decca (1971) – live recording from the Heavy Organ concert series; Philharmonic Hall (later Avery Fisher Hall), Command Records (1963)
Anthony Newman, pedal harpsichord, Columbia Masterworks (1968)
^Hans Theodore David, Arthur Mendel, Christoph Wolff. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, 503. W. W. Norton, 1998. ISBN0-393-31956-3
^BWV 582 was the first Bach organ work that Stokowski orchestrated, in 1922. Reference: pages 146, 147. Smith, Rollin. Stokowski and the Organ. Pendragon Press. Hillsdale, NY. 2004. ISBN1-57647-103-9, cited at reference 3
^The Robert Fripp String Quintet – The Bridge Between (1993, CD) (in Italian), retrieved 2022-01-02
Sources
Alain, Marie-Claire – sleeve notes for CD recording Bach: Complete Organ Works, vol. 14. Erato, 1993. Cat. 4509-96747-2. (Originally in French, translated by Stewart Spencer.)
Kobayashi, Yoshitake (2006). "Chapter four: The variation principle in J. S. Bach's Passacaglia in C minor BWV 582". In Daniel R. Melamed (ed.). Bach Studies 2. Cambridge University Press. pp. 62–69. ISBN9780521028912.
Passacaglia and Fugue in C minor, BWV 582 at the Mutopia Project
Performance of BWV 582 by Reitze Smits [nl] from the All of Bach Project
Bach arranged Stokowski: Passacaglia & Fugue (recorded 1929) on YouTube
January 26, 2023
passacaglia, fugue, minor, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, . This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Passacaglia and Fugue in C minor BWV 582 news newspapers books scholar JSTOR February 2014 Learn how and when to remove this template message 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 One of the manuscript copies of BWV 582 first page Contents 1 History 2 Analysis 2 1 Passacaglia 2 2 Fugue 3 Transcriptions 4 Notable recordings 5 See also 6 References 7 External linksHistory EditThe 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 Lubeck 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 Andre 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 The ostinato of Bach s passacaglia is shown in the center the corresponding theme from Raison s works are shown above Christe Trio en passacaille and below Christe Trio en chaconne Although the Trio en chaconne is not identical to Bach s theme it shares with it a similar construction and the same fall of a fifth at the end 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 Analysis EditPassacaglia Edit BWV 582 source source Awadagin Pratt on a Steinway piano in the White House Problems playing this file See media help The passacaglia is in 34 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 Vogelsanger de 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 Buchlein written at a similar time 13 Bars 8 12 the top part spells out the opening notes of Nun komm der Heiden Heiland Bars 24 48 a cantilena spells out Von Gott will ich nicht lassen Bars 49 72 the scales are a reference to Vom Himmel kam der Engel Schar Bars 72 96 recalling the star motif from Herr Christ der Ein ge Gottes Sohn Bars 96 120 ornamented figure similar to that in Christ lag in Todesbanden accompanies theme in the soprano then moving successively to alto and bass Bars 144 168 Ascending intervals in bass recall the Easter chorale Erstanden ist der heil ge Christ Alain also points out that the numbers 21 repetitions of the Passacaglia ground and 12 statements of the fugue subjects are inversions Fugue Edit 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 Transcriptions EditThe passacaglia has been transcribed for orchestra by Leopold Stokowski 16 Ottorino Respighi Rene 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 Fazil Say Krystian Zimerman Emile 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 Notable recordings EditIsolde Ahlgrimm Ammer pedal harpsichord 1937 1941 Philips 1956 E Power Biggs organ Busch Reisinger Museum Harvard University 1958 Helmut Walcha organ at St Laurenskerk in Alkmaar Archiv Produktion 1962 Virgil Fox organ Bach Live at Fillmore East Decca 1971 live recording from the Heavy Organ concert series Philharmonic Hall later Avery Fisher Hall Command Records 1963 Anthony Newman pedal harpsichord Columbia Masterworks 1968 Karl Richter organ Freiberg Cathedral Grosse Silbermann Orgel recorded in 1978 released in 1980 Peter Hurford Casavant Freres tracker organ Church of Our Lady of Sorrows Toronto Canada 1984 Andre Isoir organ Basilika Weingarten Calliope 1988 including use of the 49 rank pedal mixture la force on the bottom pedal C throughout Hans Andre Stamm on the Trost Organ in Waltershausen Germany Ton Koopman organ Basilika Ottobeuren Novalis Brilliant 1989 Christopher Herrick organ Stadtkirche Zofingen Hyperion 1990 Simon Preston Sauer organ St Peter Waltrop Deutsche Grammophon 1991 Marie Claire Alain organ Stiftskirche Grauhof Erato 1994 Ton Koopman organ Grote Kerk Maassluis Teldec 1994 Douglas Amrine Colin Booth pedal harpsichord Priory 1995 Kevin Bowyer Marcussen organ Saint Hans Church Odense Nimbus 1998 William Porter Paul Fritts organ Pacific Lutheran University Loft Recordings 2000 Michael Murray The Great Organ At Methuen Telarc 2002 orig 1980 Joseph Nolan organ of Buckingham Palace ballroom www signumrecords com 2007 Bernard Foccroulle Schnitger organ van de Martinikerk te Groningen Ricercar 2008 Ton Koopman Tokyo Opera City Concert Hall Organ Japan 2008 Chicago Symphony Orchestra Brass CSO Resound 2011 See also Edit Classical music portalList of compositions by Johann Sebastian BachReferences EditNotes Silbiger Grove Hans Theodore David Arthur Mendel Christoph Wolff The New Bach Reader A Life of Johann Sebastian Bach in Letters and Documents 503 W W Norton 1998 ISBN 0 393 31956 3 a b Williams 182 Wolff 94 a b Williams 183 Butler Grove Williams 184 5 Williams 184 Williams 185 includes the Spitta quotation and reference Kobayashe 62 Kobayashe 62 3 Martin Radulescu On the form of Johann Sebastian Bach s Passacaglia in c minor The Organ Yearbook 1980 95 103 Alain 1993 Wolff 97 Wolff 97 8 BWV 582 was the first Bach organ work that Stokowski orchestrated in 1922 Reference pages 146 147 Smith Rollin Stokowski and the Organ Pendragon Press Hillsdale NY 2004 ISBN 1 57647 103 9 cited at https web archive org web 20170615132000 http www stokowski org 1929 20Electrical 20Recordings 20Stokowski htm reference 3 media shop naoumoff website Retrieved 2020 11 14 The Robert Fripp String Quintet The Bridge Between 1993 CD in Italian retrieved 2022 01 02 Sources Alain Marie Claire sleeve notes for CD recording Bach Complete Organ Works vol 14 Erato 1993 Cat 4509 96747 2 Originally in French translated by Stewart Spencer Butler H Joseph 2001 Andre Raison In Sadie Stanley Tyrrell John eds The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan ISBN 978 1 56159 239 5 Kobayashi Yoshitake 2006 Chapter four The variation principle in J S Bach s Passacaglia in C minor BWV 582 In Daniel R Melamed ed Bach Studies 2 Cambridge University Press pp 62 69 ISBN 9780521028912 Silbiger Alexander 2001 Passacaglia In Sadie Stanley Tyrrell John eds The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan ISBN 978 1 56159 239 5 Williams Peter F The Organ Music of J S Bach Cambridge University Press 2003 ISBN 0 521 81416 2 Wolff Christoph Johann Sebastian Bach The Learned Musician Oxford University Press 2000 ISBN 0 19 924884 2 Wolff Christoph 2001 Johann Sebastian Bach In Sadie Stanley Tyrrell John eds The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan ISBN 978 1 56159 239 5 External links EditFree download of BWV 582 recorded by James Kibbie on the 1724 30 Trost organ in the Stadtkirche Waltershausen Germany Tim Smith s interactive hypermedia study of BWV 582 with analysis by Smith Parsons and performance by James Pressler Shockwave Player required Passacaglia and Fugue in C minor Scores at the International Music Score Library Project Passacaglia and Fugue in C minor BWV 582 at the Mutopia Project Performance of BWV 582 by Reitze Smits nl from the All of Bach Project Bach arranged Stokowski Passacaglia amp Fugue recorded 1929 on YouTube Retrieved from https en wikipedia org w index php title Passacaglia and Fugue in C minor BWV 582 amp oldid 1127569245, wikipedia, wiki, book, books, library,
