Карл Рихтер - орган - Бах - Пассакалия и Фуга до-минор для органа - текст песни, слова, перевод, видео

Karl Richter is an outstanding performer of Bach's music.

Passacaglia, Chaconne and Goldberg Variations are the pinnacles of Bach's work.

The theme of the passacaglia and the 1st theme of the fugue are essentially one theme. At the beginning of the fugue there is an exclamation, a call; further upward movement, a symbol of hope. Then Bach draws almost 3 crucefixus crosses, which symbolizes, if not specifically the crucifixion, then suffering. This theme runs throughout the entire cycle, sometimes lighter variations (hope) appear, but at the end of the fugue the colors thicken and the work ends tragically.

This is the most famous and significant example of the passacaglia genre.

Bach leaves Lubeck, feeling the power of the influence of the music of Buxtehude (organist, the largest representative of the North German organ school of the pre-Bach period. He paid a lot of attention to the passacaglia genre).

Ten years later, Bach would write the famous Passacaglia in C minor, which still excites listeners today. F. Wolfrum will say about this gigantic Passacaglia: “Despite all its grandeur, before which the art of Buxtehude humbly bows, like a modest village

church in front of the majestic Gothic cathedral, Bach’s entire composition, even in its details, adheres to the model created by the North German master.”

This is just one example that testifies to the vital influence exerted by the Lübeck organist on Bach’s creative thought.

Bach's genius lies in the fact that he collected all the symbolism of the era and skillfully used it in his works, giving it a deeper meaning than it originally carried.

Passacaglia (Italian passacaglia, Spanish pasacalle, from pasar - to pass and calle - street) is one of the forms of variations on a sustained bass (basso ostinato), as well as

a work written in this form. Classical passacaglia - variations built on the principle of diminution (that is, with each variation the duration decreases up to

triplets). Do not confuse the passacaglia (as a form of mourning song accompanying

funeral procession through the streets of a medieval city) with passacaglia (dance).

The term arose in the beginning. XVII century in Spain and was used to refer to small

improvisational turns performed on the guitar between the verses of the song. By the end of the century

With the spread of guitar music, the passacaglia penetrated into France and Italy, where it became

call a slow ceremonial dance of three-beat meter with a constant repeating

figure in the bass. According to these characteristics, passacaglia is close to chaconne, which spread in the same

time in the same regions, and often both of these words interchanged each other, for example, F. Couperin

defined one of his compositions as "Chaconne or Passacaglia". From chaconne passacaglia

It is distinguished by its beginning with a strong beat and a more monumental, solemn character.

At the turn of the XVII-XVIII centuries. The passacaglia began to be used in opera, where it was usually performed in

dance scenes as an introduction or conclusion, or between dances. Also

The passacaglia begins to be used as an independent work, as a rule,

written for harpsichord or organ. It is in this capacity that this genre reaches its

flourishing at the turn of the XVII-XVIII centuries. in the works of Bach, Buxtehude, Handel, after which it almost disappears from musical practice.