Passacaglia
A set of variations that are performed simultaneously with an ostinato (repeated) bass line.

Fig 1: individuals dancing a passacaglia.

[Example 1: Marais, La Sonnerie de Sainte Geneviève du Mont de Paris. Spectre de la Rose. CD Supplied, Track 1, 0:00-0:09 then fade behind narration.]

A passacaglia is a set of variations that are performed simultaneously with an ostinato bass line. Listen to the following example by Handel (published 1761). The piece begins with an ostinato played by the organ, which is then repeated by the orchestra. As the ostinato continues in the orchestra, the organ plays a series of variations based on the ostinato itself:

[Fig 2: Handel: Theme + 3 variations.]

[Example 2: Handel, Organ Concerto Op. 7, No. 5, Herbert Tachezi, organ. Concentus Musicus Wien, Nikolaus Harnoncourt, dir. CD Supplied. CD 1, track 18, 0:00-0:43+quick fade. ]

The passacaglia originated during the 17th century as a type of dance with music. Most passacaglias are encountered in instrumental -- rather than vocal -- music, and belong to the Baroque period. A passacaglia is also called a chaconne -- the differences need not concern us here.

In pieces such as Handel's concerto, the ostinato serves as the theme for the following set of variations. This type commences with an unaccompanied presentation of the ostinato. Other examples use it in a less direct manner. In the following chaconne from Lully's opera Phaëton (1683), the ostinato forms the bass line of the theme that occurs above it with chords. It is then repeated while the rest of the theme is subjected to variation. You will hear the theme and the first three variations. (The theme and each variation is repeated.):

[Fig 3 : Lully: Theme + 3 variations.]

[Example 3: Lully, Chaconne from Phaëton: Musica Antiqua Köln, Reinhard Goebel, dir. CD Supplied, Track 1, 0:00-0:54+quick fade.]

In The Bells of Sainte Geneviève du Mont of Paris (1717) by Marin Marais, the ostinato depicts a peal of three bells. In this, the ostinato and variations do not have a direct relationship. The descending ostinato serves instead as an accompaniment to the variations. (As in the previous example, each variation is repeated.)

[Fig 4: Marais: Theme + 2 variations.]

[Example 4: Marais, La Sonnerie de Sainte Geneviève du Mont de Paris: Spectre de la Rose. CD Supplied, Track 1, 0:00-0:47+quick fade.]

Although the ostinato is usually heard in the bass, it can migrate to other voice parts. It may also be altered during some of its repetitions over the course of the work. Listen to the following extracts from the Passacaglia and Fugue in C Minor by Johann Sebastian Bach (c1708). You will first hear the ostinato as it begins the piece; in the second extract, it appears in the soprano part (that is, the highest part); in the third extract, it appears with its rhythm altered:

[Fig. 5: Bach, Passacaglia and Fugue: (a) Ostinato (b) Ostinato in soprano part (c) Ostinato with altered rhythm]

[Example 5: Bach, Passacaglia and Fugue in C Minor. Helmut Walcha, Organ. CD supplied, CD 1, track 10, 0:00-0:19; fade in at 3:59-4:19+quick fade; fade in to 6:38-7:00+quick fade.]

With a few notable exceptions the passacaglia was practically extinct by 1800. It enjoyed a revival, however, during the first half of the 20th century. Britten, Ravel, Stravinsky, and Webern are four of the composers who have contributed distinguished examples.

Summary:

• A passacaglia is a set of variations that are performed simultaneously with an ostinato bass.
• The ostinato, which is a single melodic bass line, can serve as the theme for the following set of variations.
• In other cases, the ostinato is the bass line of a theme. It is then repeated while other parts of the theme are subjected to variation.
• Although the ostinato is usually heard in the bass, it can migrate to other voice parts. It can also be altered during some of its repetitions over the course of the work.

Copyright © Columbia University, Visual & Sound Materials from the Gabe M. Wiener Music & Arts Library of Columbia University
Passacaglia written by: Michael Von der Linn Recording & Mixing: Christopher Bailey	Narration: Mark Burford Technology & Design: Maurice Matiz