Passacaglia

Passacaglia for violin and piano was commissioned in 2003 by the Joseph Joachim Violin Competition in Hannover on the initiative of the Professor of Violin, Krzysztof Wegrzyn. The composition premiered under the interpretation of the twelve semi-finalists at the competition from 11 to 13 October 2003 at Hanover University of Music, Drama and Media.

The Italian term passacaglia combines two Spanish words: pasar (to walk) and calle (street). This musical form originates from early 17th century Spain as an interlude to more important songs and dances with accompaniment. These were mostly simple arpeggiating chord successions ending with a cadenza. Over time, variations of this form were developed on a repeating bass theme and became more seriou…

Passacaglia for violin and piano was commissioned in 2003 by the Joseph Joachim Violin Competition in Hannover on the initiative of the Professor of Violin, Krzysztof Wegrzyn. The composition premiered under the interpretation of the twelve semi-finalists at the competition from 11 to 13 October 2003 at Hanover University of Music, Drama and Media.

The Italian term passacaglia combines two Spanish words: pasar (to walk) and calle (street). This musical form originates from early 17th century Spain as an interlude to more important songs and dances with accompaniment. These were mostly simple arpeggiating chord successions ending with a cadenza. Over time, variations of this form were developed on a repeating bass theme and became more serious in nature.

At first glance, Pärt’s composition also begins in a rather simple way, with almost mechanically repeated sounds. The process which starts imperceptibly, steadily moves towards its end. Musical repetitions are represented by two opposing elements: a bass line pacing downwards in full notes, and the upper voice ascending in half steps. The beginning of each variation is marked by a change of key.