Passacaglia and Fugue in C minor, BWV 582

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One of the manuscript copies of BWV 582, first page

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]

Contents
 1 History
 2 Analysis
o 2.1 Passacaglia
o 2.2 Fugue
 3 Transcriptions
 4 In popular culture
 5 Notable recordings
 6 See also
 7 References
 8 External links

History[edit]
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.

Example 1. 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[edit]
Passacaglia[edit]

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[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♭ and B♭) and the time between
the statements increases from 1–3 bars to 7–13.

Transcriptions[edit]
The passacaglia has been transcribed for orchestra by Leopold Stokowski,[16] Ottorino Respighi,
René 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 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 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.

In popular culture[edit]
 An arrangement of some initial parts of the passacaglia is present two times in the
baptism sequence of the movie The Godfather (1972).
 The initial parts of the passacaglia appear in a scene in the movie In Bruges (2008).
 Roland Petit created a ballet, Le jeune homme et la mort (The Young Man and Death), set
to the Passacaglia and Fugue in Cm. An abbreviated version of the ballet appears as the
opening scene of the 1985 movie White Nights.
 A small segment of a piano transcription is played in The Life Aquatic with Steve Zissou,
performed by Angela Hewitt (transcription by Eugen d'Albert).
 A jazz interpretation of BWV 582 was recorded by flautist Hubert Laws for his 1973 live
album Carnegie Hall (CTI Records).
 Jimi Hendrix recorded an interpretation which may be heard on the album "Jimi Hendrix
at His Best, Volume 3", as "Lift Off."
 The passacaglia is featured on the Robert Fripp album, The Bridge Between (1993).
 Around 1964, the entire passacaglia amongst other music was digitally rendered at MIT
on a PDP-1 with a special soundcard device and recorded on magnetic tape. Digital
recordings of the tape(s) are available here.
 The passacaglia is used in the 2018 Turkish film The Wild Pear Tree.
 Used by George Lucas in his 1968 USC student film, Electronic Labyrinth: THX 1138
4EB.

Notable recordings[edit]
 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 (1980)
 Peter Hurford, Casavant Frères tracker organ, Church of Our Lady of Sorrows, Toronto,
Canada (1984)
 André Isoir, organ Basilika Weingarten, Calliope (1988) – including use of the 49 rank
pedal mixture "la force" on the bottom pedal C throughout
 Hans-André 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)
 Kevin Bowyer, Marcussen organ Saint Hans Church, Odense, Nimbus (1998)
 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)
 Chicago Symphony Orchestra Brass, CSO Resound (2011)

See also[edit]
 Classical music portal

 List of compositions by Johann Sebastian Bach

References[edit]
Sources

 Marie-Claire Alain – sleeve notes for CD recording Bach: Complete Organ Works, vol.
14. Erato, 1993. Cat. 4509-96747-2, (originally in French, translated by Stewart Spencer)
 Yoshitake Kobayashi (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.
 H. Joseph Butler. "André Raison". In Deane L. Root (ed.). Grove Music Online. Oxford
Music Online. Oxford University Press. (subscription required)
 Alexander Silbiger. "Passacaglia". In Deane L. Root (ed.). Grove Music Online. Oxford
Music Online. Oxford University Press. (subscription required)
 Peter F. Williams. The Organ Music of J. S. Bach. Cambridge University Press, 2003.
ISBN 0-521-81416-2
 Christoph Wolff. Johann Sebastian Bach: The Learned Musician. Oxford University
Press, 2000. ISBN 0-19-924884-2
 Christoph Wolff. "Johann Sebastian Bach". In Deane L. Root (ed.). Grove Music Online.
Oxford Music Online. Oxford University Press. (subscription required)

Notes'
1. ^ Silbiger, Grove.
2. ^ 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
3. ^ Jump up to: a b Williams, 182.
4. ^ Wolff, 94.
5. ^ Jump up to: a b Williams, 183.
6. ^ Butler, Grove.
7. ^ Williams, 184–5.
8. ^ Williams, 184.
9. ^ Williams, 185; includes the Spitta quotation and reference.
10. ^ Kobayashe, 62.
11. ^ Kobayashe, 62–3.
12. ^ Martin Radulescu. On the form of Johann Sebastian Bach's Passacaglia in c minor,
The Organ Yearbook 1980: 95–103.
13. ^ Alain, 1993.
14. ^ Wolff, 97.
15. ^ Wolff, 97–8.
16. ^ 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%20Electri
cal%20Recordings%20Stokowski.htm reference 3