Passacaglia

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Bernardo Storace: Passagli in C minor (beginning), from Selva di varie compositioni ... , Venice 1664

The Passacaglia (Italian [pasaˈkaʎːa] , also: Passacagli ; French: Passacaille [pasaˈkɑːj] , also: Passecaille ; Spanish: Pasacalle [pasaˈkaʎe] ) is a dance and a variation of the Baroque in a three meter ; it is mostly (but not always) in a minor key and tends to have a soft or melancholy expression. A fixed bass line , usually four or eight bars long , is typical , the basso ostinato , which can be repeated as often as required and serves as the basis for a series of variations. In the 17th and 18th centuries it spread through Italy and France across Europe. The boundaries to the closely related Chaconne (or Ciaccona) are fluid and are still the subject of discussion today.

“Passacaglia or Passaglio [ital.], Passacaille [gall.], Is actually a Chaconne. The whole difference is that ordinairement is slower than the Chaconne, the melody more dull-hearted (more tender) and the expression not so lively; and that is precisely why the passecailles are almost always set in the modis minoribus, i.e. in notes that have a soft third (i.e. in minor, author's note). "

- Johann Walther : Musikalisches Lexikon, Leipzig 1732, p. 465.

For the difference between Passacaglia and Chaconne, see also the article Chaconne .

Speed ​​and character

Several historical sources provide information about the speed of the Passacaglia or Passacaille.

The French theorists explain the temporal relation between Passacaille and Chaconne - and their relationship to some other dances such as Sarabande , Courante , Menuet or Gigue . This applies both to “only” descriptive sources that do not give an exact tempo, such as Freillon-Poncein 1700, L'Affilard 1702, Brossard 1703, and Montéclair 1736; but also for L'Affilard 1705 and Pajot 1732, which give more precise information for the "Pendulum" invented by Joseph Sauveur in 1701.

Montéclair z. B. characterizes the pace of the Courante, Sarabande and Passacaille as "grave" (grave, weighty, heavy, slow), the Chaconne and the Menuet as "gai" (happy), and of Passepied and Canarie as "vite" (fast ). L'Affilard says in 1702 that the triple meters of Sarabande and Passacaille are “lentement” (slow), the Chaconne “plus légèrement” (faster, easier), and the menuet “fort légers” (very light-footed, very fast). Corresponding information is provided by Freillon-Poncein 1700 and Brossard 1703. More than fifty years later, Rameau / d'Alembert also describe the Passacaille in 1759 as “plus lente, plus tendre” (slower, more tender / more sensitive) than the Chaconne, as does Rousseau in his Dictionnaire de musique 1768.

L'Affilard gives precise information in his Principes (1705). The speed of the Chaconne is ♩ = 156  MM . His information on the Passacaille is much slower and is ♩ = 106 MM. Similarly, Pajot gives ♩ = 95 MM for the Passacaille and ♩ = 159 MM for the Chaconne. L'Affilard 1705 and Pajot 1732 give slightly different numbers, but agree on the relationship between the dances and their tempo; and so the following order arises, starting with the slowest dance (sarabande) to the fastest (gigue or canarie):

Sarabande, Courante, Passacaille, Chaconne, Menuet, Passepied, Gigue / Canaries.

François Couperin: "L'Amphibie - mouvement de Passacaille" (beginning), Quatrieme Livre de Pièces de clavecin , Paris 1730
Jean-Philippe Rameau: "Air - mouvement de Chaconne vive" (beginning), Acanthe et Céphise , Acte I (1751)

The fact that there are pieces by François Couperin and Jean-Philippe Rameau, for example , which are called "mouvement de passacaille" or "mouvement de chaconne" , speaks for the fact that there was no clear tempo difference between Chaconne and Passacaille in France , which should be played in motion or at the pace of a Passacaille or Chaconne. Examples are F. Couperin's harpsichord piece L'Amphibie (24th Ordre, Livre IV , 1730), which he describes as "mouvement de Passacaille"; and some pieces in Rameau's operas: e.g. B. an Air. Mouvement de chaconne vive in Acanthe et Céphise (1751), or an Air de Ballet (Mouvement de Chaconne) for Platée (1745), or a Rondeau. Mouvement de chaconne in Zoroastre ( 1749/1756 ) .

Eighteenth-century German theorists held conflicting views on the pace of the Chaconne and Passacaille. Walther agrees with the French and remarks in 1732 to the Passacaille that it goes “ordinairement slower than the Chaconne” and that “the melody is more dull-hearted (more tender) and the expression is not so lively”.

But Quantz (1752) thinks, strangely enough, that the Passacaille is played "almost a little faster" than the Chaconne, the tempo of which he specifies as about ♩ = 160. At a point in time when both dances have already passed their actual zenith, Türk summarized in 1789: “The Passacaille is played a little slower or, as others want, almost a little faster than the Chaconne. The character is definitely tender and a little serious. "

This article or the following section is not adequately provided with supporting documents ( e.g. individual evidence ). Information without sufficient evidence could be removed soon. Please help Wikipedia by researching the information and including good evidence.

However, one must not forget that information from Quantz and Türk comes from a time that lies beyond the actual epoch, especially the Passacaglia, and that fluctuations in fashions and styles may have to be taken into account (see also the history e.g. . of the minuet ).

history

The Passacaglia was originally a Spanish folk dance . The name comes from Spanish pasar (to cross) and calle (street) and literally means: “to go across the street” (or “go across the street”). The Spanish roots have so far only been passed on through contemporary Spanish literature; the first simple musical examples come from Italy and date from 1606.

Frescobaldi's Passacaglia

A first famous version of art music (for harpsichord or organ ) comes from Girolamo Frescobaldi : The Cento partite sopra Passacagli (= "Hundred parts on Passacaglia"), which he published in 1637 in the third edition of his Libro Primo di Toccate . He also wrote two similar, short Passacaglia to conclude his Balletti I and III.

The ostinato is a descending tetrachord , that is, a sequence of four tones (e.g. in D minor: dcba). However, it is treated as freely as possible, is often chromatised, can be played around, and migrate to other voices or be divided into different voices, and sometimes almost disappear in an artful contrapuntal network of opposing voices.

In this multi-part piece there is also a corrente and three sections called ciaccona ; the latter have a different rhythmic course. Silbiger already observed that the ostinato in the Passacaglia consists of "four three-bar groups" each, while in the Ciacconen there are only "two three-bar groups". The simplest form of the basic ostinato for the Passacaglia or the Ciaccona in Frescobaldi is:

Passacagli basic ostinato (in D minor): 3 ||: d - - | c - - | b - - | a - -: ||

Ciaccona - basic ostinato (in F major): 3 ||: f - c | dbc: ||

This means that in the Ciaccona parts there are more harmonic changes per measure. This alone makes the Passacagli parts seem calmer and more melancholy (and also through melodic tricks).

The structure of the Cento Partite ... is: Passacagli (Pa) - Corrente - Pa - Ciaccona (Ci) - Pa - Ci - Pa - Ci - Pa. Frescobaldi himself writes that you can play the various sections individually, just as you like. However, between some sections there is modulation into a different key within a few bars, so that they end in a different key than they begin - this also applies to the whole piece. The sequence of keys is: d - F - C / c - a - d - a - e. However, this key sequence does not correspond to the above-mentioned sequence of the different dance rhythms, the key change usually takes place in the middle of a Passacagli or Ciaccona and then extends over the change of the dance character. The whole thing is made even more complex by a sophisticated handling of different three-meter meters, which also function as tempo indications; The change in meters often takes place in the middle of a dance section.

The changes in keys and meters, and especially the fact that Frescobaldi's Cento Partite… begin in a different key than they end, can be seen as a pictorial composition of the title: Pasa-calle (crossing the street): Therefore, he changes the key in the middle of “the street” and ends up “on the other side of the street”.

Successor to Frescobaldi

Frescobaldi's Passacagli had an enormous influence on harpsichord and organ literature. In 1664, Bernardo Storace published four great and virtuoso Passacagli, two of which also modulate pieces through different keys without returning to the original key; the other two Passacagli are in C and A minor, but also change the meter several times. Bernardo Pasquini also composed several Passacagli , they are fine, ingenious pieces that are shorter and simpler than those of his predecessors and remain in a uniform key.

D. Buxtehude: Ostinato from the Passacaglia in D minor, Buxwv 161
JS Bach: Beginning of the Passacaglia (and Fugue) manuscript in C minor, BWV 582

Frescobaldi's Passacagli probably also served as a model for the first examples in German baroque keyboard music, e.g. B. the well-known Passacaglia in d by Johann Caspar Kerll , which is also held over the descending tetrachord. Later composers also choose their own ostinati for their organ and harpsichord compositions, such as B. Georg Muffat , Johann Caspar Ferdinand Fischer , u. a.

Most famous is the Passacaglia in D minor (BuxWV 161) by Dieterich Buxtehude on a freely chosen four-bar ostinato theme (D / A - C sharp / D - A / B - - / A). It consists of four equally long sections, in each of which the topic appears seven times. Much like Frescobaldi, Buxtehude modulates between the sections in a different key: from d to F and a, and finally back to d. Buxtehudes Passacaglia, together with his Ciacona in C minor (BuxWV 159), was a direct model for Johann Sebastian Bach's Passacaglia in C minor ( BWV 582) - the most famous of all Passacaglias, which also had an enormous influence on all later organ Passacaglias of the 19th century. and the 20th century.

Guardian angel engraving for Passacaglia in G minor from Beaver's Rosary Sonatas (c. 1678)

Another highly significant work is Heinrich Ignaz Franz Biber's Passacaglia in G minor for solo violin - the last piece from his cycle of Rosary Sonatas . It is one of the earliest compositions for solo violin and was probably a model for Bach's famous Chaconne in D minor from the Partita BWV 1004 . The ostinato of the piece is again the descending tetrachord, about which Biber invents 65 variations, and which in this special case probably symbolizes the beginning of the guardian angel hymn Give me an angel - because in the original print the piece is engraved with a small child and placed in front of his guardian angel.

The Spaniard Juan Bautista Cabanilles also left behind some pasacalles - unique in Spanish keyboard music of the 17th century. However, they are not in three-time, but ostinato variations in an even meter, and are therefore formally a bit apart. A rare example of a passacaille in straight C time also finishes Georg Friedrich Handel's Harpsichord Suite in G minor (HWV 432, from the 1st collection from 1720).

For lute or theorbo there are Passacaglias by Alessandro Piccinini , Giovanni Girolamo Kapsperger , Esaias Reusner and Sylvius Leopold Weiss ; and from the French repertoire of Ennemond Gaultier , Denis Gaultier , Dufaut, Gallot, Robert de Visée and others. a. Passacaglien for baroque guitar have been handed down by Gaspar Sanz , Santiago de Murcia , Francesco Guerau and Marcello Vitale as well as Robert de Visée, Ludovico Roncalli and Francesco Corbetta

Passacaille en rondeau

The passacaille was introduced into French harpsichord music by Louis Couperin . The clavecinists sometimes used the form of the passacaille en rondeau , i.e. H. a Passacaille in Rondo form. Examples are Louis Couperin's Passacaille in G minor, and François Couperin's harmoniously daring and tragic Passacaille in B minor in his 8th order ( Livre second , Paris 1716) - this piece has a chromatically ascending bass in the Refrain, and eight different couplets (interludes). Dandrieu wrote a large three-part Passacaille for his Concert des Muses ("Concert of the Muses"; 2nd Suite, 2nd Book, 1728), the two outer parts are in F minor, the middle part in the parallel F major. Each part is its own rondeau, but all three rondeaus are worked over the same chromatically descending basso ostinato, which is used e.g. Sometimes also recurs in the couplets. There are three couplets each, so a total of nine - the number of the nine muses.

Some large-scale Passacaglia in rondo form are also known from Georg Muffat : His Passacaille in G minor (for organ or harpsichord) from Apparatus musico-organisticus (1690), and the Passacaglia - Grave , with which he wrote his Concerto No. V in G- Major from Armonico tributo (Salzburg, 1682) finished. This can either be performed with chamber music or with a large ensemble with concertino (soloists) and concerto grosso (string orchestra with B. c.).

In the opera

D'Anglebert: Passacaille d'Armide by J.-B. Lully, Pieces de Clavecin 1689

In France, the Passacaille has also been performed as a stage dance since Jean-Baptiste Lully . B. in his Tragédies Persée (1682) or in Armide (1686). In Armide (Act V, Scene 1), the sorceress Armida has a great Passacaille in G minor for orchestra, choir and soloists play for her lover Renaud (Rinaldo). It consists of the actual dance and a singing scene, lasts approx. 13 minutes unabridged, and is a very special piece of its time simply because of its instrumentation with interludes of various orchestral groups such as oboes or flutes; in the midst of the dance, “happy lovers” and the personified joys (les plaisirs) sing about the joys of love (“les plaisir ont choisi pour asile…”).

Lully's Passacaille from Armide did not fail to have an impact: three years later, d'Anglebert published a transcription for harpsichord; and Henry Purcell composed the at least equally enticing Passacaglia How happy the lover ... for his semi-opera King Arthur (1691), with the help of which the eponymous hero is also to be seduced to the "joys of love". It is performed by various soloists e.g. Sometimes sung in duets and trios and answered by the choir with the refrain: "No joys are above the pleasures of love" ("No pleasure is greater than the joys of love"). Lully first brought a chaconnas, which appeared in his ballets and ballet comedies , in Cadmus et Hermione in 1673 - he laid the shape for the future with the addition of solos and choirs of theirs and those of the Passacaille. Standard with him from Persée on, chaconnas and passacals appeared in almost all French operas up to 1750. In some cases the composers meticulously adhered to Lully's models, while Rameau showed a special inventiveness when there were deviations. Sometimes he got rid of the duties of basso ostinato. The genre changed in the middle of the 18th century under Willibald Gluck to something influenced by the form of the sonata, without losing the French tradition of generous pieces, suitable for choreographies with the best dancers.

After 1750

During the Classical era, the passacaille was rarely used. Luigi Boccherini described the 5th movement of his well-known Quintettino in C major Op. 30.6 Musica notturna delle strade di Madrid as "Passacalle" - he was evidently inspired by the title (= "Nocturnal music on the streets of Madrid") and the Spanish meaning of Pasacalle (= "to go across the street"), because in his own description of the quintettino it says, in this sentence "... the Spaniards have fun on the streets at night, singing and dancing". However, the piece is not a passacaglia as in traditional art music, but inspired by real Spanish folk music.

Mozart wrote a “real” Passacaille in E flat major for his ballet music for Idomeneo, Ré di Creta KV 367 (1781).

frequency

In the Italian early baroque up to the end of the 17th century the passacagli seem to have been more popular than the ciacona; In Italy, however, this was also defined quite narrowly as a very specific dance bass in major. This “lead” of the Passacagli can be clearly seen in Frescobaldi's Cento partite ( Libro I , 1637) and in Storace's four Passacagli in comparison to a single version of the Ciaccona ( Selva ... , 1664). Even around 1700 Pasquini wrote only four Passacagli and no version of the Ciaccona. His Passacagli in C major “per Petronilla” clearly differ in key and character from the others (in D, G, and Bb) - in Germany such a piece would probably have been called “Ciaccona”, but Pasquini probably persisted the idea of ​​the early Baroque Italian Ciaccona, and his Passacagli in C with a descending tetrachord as ostinato does not correspond to this.

French harpsichordists used the passacaille less often than the chaconne. Louis Couperin's manuscript Bauyn (Paris, Bibliothèque Nationale) alone contains 9 chaconnas , but only two passacailles - plus a piece in G minor with the enigmatic title Chaconne ou Passacaille (= "Chaconne or Passacaille"). There are five chaconnas by d'Anglebert - three of his own in C, in G and in D major, and two by Lully - but only two Passacailles in G minor (one of his own and one by Lully; 1689). Also Lebègue published only one Passacaille, but five Chaconnes. Most of the other clavecinists wrote only chaconnas (e.g. Chambonnières , Élisabeth Jacquet de la Guerre , Marchand , and Duphly ), or neither (e.g. Clérambault , Rameau).

François Couperin is the exception in several respects with only one Chaconne in C minor ( La Favorite , 3rd Ordre, Livre I, 1713), which, however, is unusually in even time (“à deux tem (p) s”), and has an unusually dark character for a French Chaconne. There is also the Passacaille in B minor (8th Ordre, Livre II, 1716), and a piece L'Amphibie in D major (24th Ordre, Livre IV, 1730), which he wrote with “mouvement de Passacaille” and “ noblement ”- apparently to indicate a somewhat slower pace and a less cheerful character than a chaconne. Because without this information one would take L'Amphibie for a normal chaconne en rondeau (hence the allusion to an amphibium, which can change color depending on the situation). F. Couperin apparently advocates a kind of balance between the two genres in his harpsichord work: he brings a chaconne, a passacaille and a third piece, which is a kind of mixture of both. At another point, however, there is still a chaconne, e.g. B. in Concert Royal No. 3 (Paris, 1722). A chaconne reappeared in Lesueurs Ossian, ou les Bardes in 1804 , and less than a quarter of the more than 150 dances of this type established since Cadmus et Hermione were passacailles.

The picture is similar in Germany: In the harpsichord suites by Johann Caspar Ferdinand Fischer, for example, there are a total of four chaconnas, but only two passacaglias. Handel composed (in his harpsichord music) only one passacaglia, but three large and two small chaconnas. Buxtehude left three organ ciaconas but only one passacaglia (in d). Some German keyboard virtuosos only wrote chaconnas, e.g. B. Georg Böhm (3), Pachelbel (at least 3), Johann Krieger, and Christoph Graupner (4).

In view of some chaconnas in minor, whose character actually suspiciously corresponds to the typically soft, lovely and melancholy nature of the Passacaglia, one can certainly ask why they were called “Ciacona” at all. This applies as an example to Buxtehude's organ “Ciaconas” in e (BuxWV 160) and c (BuxWV 159) and to Pachelbel's Ciacona in the key of F minor, traditionally considered to be particularly soft and “sad”, and also for two small chacons in e and a from Fischer. Was the chaconne just more fashionable? Or should the corresponding pieces be interpreted differently than a Passacaglia (e.g. different tempo, or different type of registration on the organ)?

19th century until today

In the 19th century, the Passacaglia celebrated a resurrection as a variation form with Felix Mendelssohn's Organ Passacaglia in C minor, which is obviously inspired by Bach.

Since the late Romantic era, under the influence of Bach's organ work, organ passacaglia have been increasingly composed again (often also with a subsequent fugue ). Even neo-classical composers like made use of this form. Important examples:

Johan Halvorsen : Passacaglia on a theme by Handel

Important Passacaglia compositions of the 20th century are also by Maurice Ravel , for example in his piano trio, Leopold Godowsky , who wrote the Passacaglia, Epilogue, Cadenza and Fugue after Schubert's Unfinished B minor for piano in 1827 on the 100th anniversary of Schubert's death , Dmitri Shostakovich , who wrote some slow movements of larger works (first in his opera Lady Macbeth of Mtsensk (interlude); 8th symphony , 2nd piano trio, 1st violin concerto, 15th symphony ) in this form. The most famous orchestral passacaglia also include the Passacaglia in D minor op. 1 by Anton Webern and the Passacaglia in the 4th movement of the 4th Symphony by Johannes Brahms .

Web links

Youtube films:

Other:

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literature

  • Michel L'Affilard: Principes très-faciles / pour bien apprendre / la Musique…, 5th edition revue, corrigée et augmentée, /… à Paris, / chez Christophe Ballard,… M DCC V.… (Paris, 1705).
  • Jean-Baptiste le Rond d'Alembert : Élémens de musique, théorique et pratique, suivant les principes de M. Rameau , Chez C.-A. Jombert, Paris 1759, p. 169 (see also: https://books.google.at/books?id=yz0HAAAAQAAJ&pg=PR12&hl=de&source=gbs_selected_pages&cad=2#v=onepage&q&f=false ; or: https: // books. google.at/books/about/Élémens_de_musique_théorique_et_prati.html?id=yz0HAAAAQAAJ&redir_esc=y )
  • Willi Apel , Buxtehude - the free organ works , in: History of organ and piano music up to 1700 , ed. and afterword by Siegbert Rampe, Kassel: Bärenreiter, 2004 (originally 1967), pp. 594-599.
  • Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances), in: Tempo in de Achttiende eeuw , red. K. Vellekoop, Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). An English summary of the article on: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017)
  • Sébastien de Brossard: Dictionnaire de musique , Paris 1703. 6 editions. Reprint: Frits Knuf / Hilversum 1965.
  • Booklet for: Lully - Armide , G. Laurens, H. Crook, V. Gens, Collegium Vocale, Chapelle Royale, Ph. Herreweghe, published by: harmonia mundi France 1992 (2 CDs).
  • Booklet for: Purcell - King Arthur , The Deller Choir, The King's Musick, Alfred Deller, published by: harmonia mundi France 1979 (2 LPs).
  • Manfred Bukofzer: Music in the Baroque Era. New York: WW Norton, 1947.
  • Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 .
  • Kurt von Fischer: Chaconne and Passacaglia: An attempt . Revue Belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 12 , 1958, pp. 19–34.
  • Jean-Pierre Freillon-Poncein: La véritable manière d'apprendre à jouer en perfection du haut-bois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d'instrumens , Paris 1700. Facsimile - New edition: Édition Minkoff, 1974.
  • Markus Grassl: Passacaglia , in: Oesterreichisches Musiklexikon . Vol. 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 .
  • Darrel Handel: Britten's Use of the Passacaglia , in: Tempo, new series no. 94 (Autumn), 1970, pp. 2-6.
  • Jean-Yves Haymoz (transl. Heidi Fritz): Booklet text for CD: Georg Muffat - Armonico tributo , Ensemble 415, Chiara Banchini, Jesper Christensen, published by: harmonia mundi France, 1996.
  • Lyn Henderson: Shostakovich and the Passacaglia: Old Grounds or New? , in: Musical Times 141 , no. 1870 (Spring), 2000. pp. 53-60.
  • Richard Hudson: Further Remarks on the Passacaglia and Ciaconna , in: Journal of the American Musicological Society 23, no. 2 (Summer) , 1970, pp. 302-14.
  • Richard Hudson: The Ripresa, the Ritornello, and the Passacaglia. , in: Journal of the American Musicological Society 24, no. 3 (Autumn) , 1971, pp. 364-94.
  • Raphaëlle Legrand: Chaconnes et passacailles dansées dans l'opéra français: des airs de mouvement . In: Hervé Lacombe (ed.): Le mouvement en musique à l'époque baroque , Editions Serpenoise, Metz 1996, pp. 157–170.
  • Michel Pignolet de Montéclair: Principes de Musique divisées en quatre classes, Paris 1736.
  • David Moroney: Booklet text for CD: Biber - The Mystery Sonatas , John Holloway (violin), Davitt Moroney (harpsichord and organ), Tragicomedia (continuo). published by: Virgin classics / veritas, 1990.
  • Johann Joachim Quantzens, Royal. Prussian Chamber Music, attempted instruction to play the flute traversate ... , together with XXIV copper plates. Berlin, JF Voss 1752 (first edition). Third edition. Breslau, 1789. See: https://de.wikisource.org/wiki/Versuch_einer_Anweisung_die_Flöte_traversiere_zu_piele/XVII._Hauptstück
  • HC Robbins Landon (Ed.): The Mozart Compendium - His Life - His Music , Droemer Knaur, Munich 1991.
  • Lucy Robinson (translated by Stephanie Wollny): Booklet for CD: Biber - Sacro-profanum , The Purcell Quartet a. a. Richard Wistreich (bass), published by: Chaconne, 1997 (2 CDs).
  • Jean-Jacques Rousseau: Passacaille , in: Dictionnaire de musique , Paris 1768, p. 372.See also on IMSLP: Rousseau: Dictionnaire de musique, 1768 , accessed August 12, 2017.
  • Thomas Schmitt: Passacaglio is actually a Chaconne. To distinguish between two musical composition principles . In: Frankfurter Zeitschrift für Musikwissenschaft Vol. 13 (2010), pp. 1–18 ( online , PDF, 364 kB)
  • Erich Schwandt: L'Affilard on the French Court Dances , in: The Musical Quarterly , Volume LX, Issue 3, July 1, 1974, pp. 389-400 ( doi : 10.1093 / mq / LX.3.389 ).
  • Alexander Silbiger: Passacaglia and Ciaccona: Genre Pairing and Ambiguity from Frescobaldi to Couperin . Journal of Seventeenth-Century Music 2, no.1, 1996.
  • Alexander Silbiger: Passacaglia . In: The New Grove Dictionary of Music and Musicians , second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers 2001.
  • Leon Stein: The Passacaglia in the Twentieth Century . Music and Letters 40 , no. 2 (April), 1959. pp. 150-53.
  • Daniel Gottlob Türk: Die Passacaille… , in: Klavierschule , Leipzig & Halle 1789, p. 401. See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) (seen on August 13, 2017).
  • Thomas Walker: Ciaccona and Passacaglia: Remarks on Their Origin and Early History . Journal of the American Musicological Society 21 , no. 3 (Autumn), 1968. pp. 300-20.

grades

  • Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  • Manuscript Rés. 89 ter, Pieces de clavecin: D'Anglebert - Chambonnières - Louis Couperin - Transcriptions de pièces pour luth , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999. (= second volume of the D'Anglebert complete edition of the Édition Fuseau).
  • Manuscript Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières, deuxième partie: Pièces de Clavecin de Louis Couperin, … , Facsimile, prés. by Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.
  • Georg Böhm, Complete Works for Harpsichord , ed. v. Kl.Beckmann, Wiesbaden, Breitkopf & Härtel, 1985.
  • Johannis Cabanilles Opera Omnia , Vol. II, ed. v. Higini Anglès, Bibliotéca de Catalunya, Barcelona 1933/1992.
  • François Couperin, Pièces de Clavecin , 4 vols., Ed. by Jos. Gát, Mainz et al .: Schott, 1970–1971.
  • Jean-François Dandrieu, Pièces de Clavecin (1724, 1728, 1734), ed. by P. Aubert & B. François-Sappey, Paris: Editions Musicales de la Schola Cantorum, 1973.
  • Jacques Duphly: Troisième Livre de Pièces de Clavecin , 1756. New York: Performer's Facsimiles 25367 (nd).
  • Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument , ed. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901).
  • Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. New edition by Pierre Pidoux, Kassel: Bärenreiter (originally 1948).
  • Girolamo Frescobaldi, The First Book of Capricci, Ricercari and Canzoni 1626 ( Organ and Piano Works Volume II ). New edition by Pierre Pidoux, Kassel: Bärenreiter, 1958.
  • Christoph Graupner, monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.
  • Christoph Graupner, 17 Suites pour Clavecin (manuscrit inédit) , Facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1993.
  • George Frideric Handel: Keyboard Works for solo instrument, (from the Deutsche Händel Gesellschaft Edition) , ed. by Friedrich Chrysander. New York: Dover Publication, 1982.
  • Georg Friedrich Handel, Piano Works I - Various Suites, Part a (Wiener Urtext Edition) , Vienna / Mainz: Schott / Universal Edition, 1991.
  • Georg Friedrich Handel, Piano Works III - Selected Various Pieces (Wiener Urtext Edition) , Schott / Universal Edition, 1994.
  • Elisabeth Jacquet de la Guerre: Les Pièces de Clavecin, Premier Livre , 1687. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1997.
  • Élisabeth Jacquet de la Guerre: Pièces de Clavecin (qui peuvent se jouer sur le violon), 1707. Facsimile, prés. par Catherine Cessac et J. Saint-Arroman, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2000.
  • Johann Kaspar Kerll: Complete Works for Keyboard Instruments, Vol. 3: Individual pieces and suites, ed. v. Francesco di Lernia, Vienna: Universal-Edition, 1994.
  • Johann & Johann Philipp Krieger, Complete Organ and Keyboard Works I , ed. v. Siegbert Rampe and Helene Lerch, Kassel et al .: Bärenreiter, 1995.
  • Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995.
  • Nicolas-Antoine Lebègue, Le Second Livre de Clavessin, 1687 . Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Edition JM Fuzeau.
  • Louis Marchand: Pièces de Clavecin, Livre Premier 1702 & Livre Second 1703 a. a. (Complete edition). Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.
  • Georg Muffat: Apparatus Musico Organisticus , 1690. New edition as Volume III of the series “Süddeutsche Orgelmeister des Barock”, publ. v. Rudolf Walter, 3rd edition, Altötting: Musikverlag Alfred Coppenrath 1957.
  • Johann Pachelbel: Hexachordum Apollinis 1699 , ed. v. HJ Moser and Tr. Fedtke, Kassel: Bärenreiter 1958/1986, pp. 36–42 (C) and pp. 43–48 (D).
  • Johann Pachelbel: Ciacona in F minor, in: German piano music of the 17th and 18th centuries, vol. 1 (17th century) , ed. v. H. Fischer and F. Oberdoerffer, Munich: Chr. Friedrich Vieweg 1960, pp. 16-19.
  • Bernardo Pasquini, Opere per tastiera - Vol. I - VII (7 vols.), A cura di (edited by) Armando Carideo, Colledara: Andromeda Editrice, 2002–2004; and Latina: Il Levante Libreria Editrice, 2006, here: Vol. V (2004), and Vol. VII (2006).
  • Bernardo Storace, Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo , Venezia 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Firenze, 1982.

Recordings

(Please do not create a long list of known works or for advertising purposes here, the following serves as evidence in the text)

  • Biber's Passacaglia, on CD: Biber - The Mystery Sonatas , John Holloway (violin), Davitt Moroney (harpsichord and organ), Tragicomedia (continuo). published by: Virgin classics / veritas, 1990.
  • François Couperin: Concerts Royaux & Nouveaux Concerts 10, 12, 14 , S. Kuijken, W. Kuijken, B. Kuijken u. a., published by: Philips SEON, (no year) (2 LPs).
  • Lully - Armide , G. Laurens, H. Crook, V. Gens, Collegium Vocale, Chapelle Royale, Ph. Herreweghe, published by: harmonia mundi France, 1992 (2 CDs).
  • Mozart - The Overtures (Complete Edition) , Basler Sinfonieorchester, Moshe Atzmon, published by: Ariola-eurodisc, 1974 (3 LPs).
  • Purcell - King Arthur , The Deller Choir, The King's Musick, Alfred Deller, published by: harmonia mundi France 1979 (2 LPs).
  • Jean-Philippe Rameau: Orchestral Suites ( Acanthe et Céphise & Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/ reference.aspx? id = 130 , viewed August 14, 2017).
  • Jean-Philippe Rameau: Orchestral Suites Vol. 2 ( Naïs & Zoroastre ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/reference.aspx ? id = 271 , viewed August 14, 2017).
  • Rameau - Suites from Platée & Dardanus , Philharmonia Baroque Orchestra, Nicholas McGegan, appear in: conifer classics, 1998.

Individual evidence

  1. ^ Johann Walther: Musikalisches Lexikon , Leipzig 1732. Facs.-Reprint, Kassel: Bärenreiter, 1967, p. 465.
  2. ^ Johann Walther, Musikalisches Lexikon, Leipzig 1732. Facs.-Reprint, Kassel: Bärenreiter, 1967, p. 465.
  3. ↑ Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances), in: Tempo in de Achttiende eeuw , red. K. Vellekoop, Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). An English summary of the article on: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017). Unless otherwise stated, all of the following information about the French theorists is from van Biezen.
  4. ↑ Jean-Pierre Freillon-Poncein: “La véritable manière d'apprendre à jouer en perfection du haut-bois, de la flûte et du flageolet, avec les principes de la musique pour la voix et pour toutes sortes d'instrumens” , Paris 1700. New facsimile edition: Édition Minkoff, 1974.
  5. ↑ Sébastien de Brossard: Dictionnaire de musique , Paris 1703. 6 editions. Reprint: Frits Knuf / Hilversum 1965.
  6. ↑ Michel Pignolet de Montéclair: Principes de Musique divisées en quatre classes, Paris 1736.
  7. ↑ Michel L'Affilard: Principes très-faciles / pour bien apprendre / la Musique…, 5th edition revue, corrigée et augmentée, /… à Paris, / chez Christophe Ballard,… M DCC V… (Paris, 1705).
  8. ↑ Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances), in: Tempo in de Achttiende eeuw , red. K. Vellekoop, Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). An English summary of the article on: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017).
  9. ↑ On L'Affilard 1705 see also: Erich Schwandt: L'Affilard on the French Court Dances , in: The Musical Quarterly , Volume LX, Issue 3, July 1, 1974, pp. 389-400 ( doi : 10.1093 / mq / LX.3.389 ).
  10. ↑ Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances),…, Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). English summary of the article at: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017).
  11. ↑ Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances),…, Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). English summary of the article at: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017).
  12. ↑ Jan van Biezen: “Het tempo van de Franse barokdansen” (The tempo of French Baroque dances), ..., Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). English summary of the article at: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017).
  13. ↑ "La passacaille ne differe de la chaconne qu'en ce qu'elle est plus lente, plus tendre, ..." (= The Passacaille is no different from the Chaconne, except that it is slower, sweeter (more tender), ...). See: Jean-Baptiste le Rond d'Alembert : Élémens de musique, théorique et pratique, suivant les principes de M. Rameau , Chez C.-A. Jombert, Paris 1759, p. 169 (see also: https://books.google.at/books?id=yz0HAAAAQAAJ&pg=PR12&hl=de&source=gbs_selected_pages&cad=2#v=onepage&q&f=false )
  14. ↑ “PASSACAILLE:… Espèce de Chaconne dont le chant est plus tendre et le mouvement plus lent que dans les Chaconnes ordinaires. … ”(“ PASSACAILLE:… A kind of Chaconne, the melody of which is more tender (lovelier, more flirting) and the movement is slower than the ordinary Chaconne… ”). See: Jean-Jacques Rousseau, Passacaille , in: Dictionnaire de musique , Paris 1768, p. 372.See also on IMSLP: Rousseau: Dictionnaire de musique, 1768 , accessed August 12, 2017.
  15. ↑ Michel L'Affilard: Principes très-faciles / pour bien apprendre / la Musique…, 5th edition revue, corrigée et augmentée, /… à Paris, / chez Christophe Ballard,… M DCC V… (Paris, 1705).
  16. ↑ Erich Schwandt: "L'Affilard on the French Court Dances", in: The Musical Quarterly. Volume LX, Issue 3, 1 July 1974, pp. 389-400 ( doi : 10.1093 / mq / LX.3.389 ).
  17. ↑ On L'Affilard and Pajot, see: Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances), ..., Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). English summary of the article at: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017). According to van Biezen, the conversion of these numbers (from the traditional literature of the 20th century) into modern metronome information is incorrect, he believes that the numbers should all be halved. Of course, that doesn't change the relationship between the dances!
  18. ↑ Jan van Biezen: Het tempo van de Franse barokdansen (The tempo of French Baroque dances), in: Tempo in de Achttiende eeuw , red. K. Vellekoop, Utrecht 1984 (Stimu), pp. 7-25, pp. 37-59. (Dutch). An English summary of the article on: http://www.janvanbiezen.nl/frenchbarok.html (as of August 11, 2017).
  19. ^ François Couperin, Pièces de Clavecin , Vol. 4, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, pp. 90-96.
  20. ↑ Jean-Philippe Rameau: Orchestral Suites (from: Acanthe et Céphise , and Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http: //www.glossamusic. com / glossa / reference.aspx? id = 130 , viewed on August 14, 2017)
  21. ↑ See table of contents in the booklet for the CD: Rameau - Suites from Platée & Dardanus , Philharmonia Baroque Orchestra, Nicholas McGegan, published by: conifer classics, 1998, p. 2
  22. ↑ Jean-Philippe Rameau: Orchestral Suites Vol. 2 ( Naïs & Zoroastre ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/reference. aspx? id = 271 , viewed August 14, 2017).
  23. ^ Johann Walther, Musikalisches Lexikon , Leipzig 1732. Faks.-Reprint, Kassel: Bärenreiter, 1967, p. 465. Also in: Thomas Schmitt: Passacaglio is actually a Chaconne. To distinguish between two musical composition principles , In: Frankfurter Zeitschrift für Musikwissenschaft. Vol. 13, 2010 , ISSN  1438-857X , pp. 1–18, (PDF; 364 kB).
  24. ↑ “A chaconne is also played splendidly. A pulse beat takes up two quarters. A passecaille is the same as the previous one; but is played almost a little faster. ” Johann Joachim Quantzens, Königl. Prussian Chamber Music, attempt at an instruction to play the flute traverse ... , along with XXIV copper panels. Berlin, JF Voss 1752 (first edition). Third edition. Breslau, 1789. XVII. Hauptstück, 7th section, § 58, p. 270.See: https://de.wikisource.org/wiki/Versuch_einer_Anweisung_die_Flöte_traversiere_zu_spiele/XVII._Hauptstück
  25. ↑ Daniel Gottlob Türk: Klavierschule , Leipzig & Halle 1789, p. 401.See on IMSLP: http://imslp.org/wiki/Klavierschule_(Türk,_Daniel_Gottlob) , seen on August 13, 2017.
  26. ↑ The development of the Passacaglia - genesis of a form . Retrieved May 1, 2015.
  27. ^ Richard Hudson: The Ripresa, the Ritornello, and the Passacaglia. , in: Journal of the American Musicological Society 24, no. 3 (Autumn) , 1971, pp. 364-94.
  28. ↑ Alexander Silbiger: Passacaglia . In: The New Grove Dictionary of Music and Musicians , 2nd edition,… London,… 2001.
  29. ↑ Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo…, Libro Primo , Rome 1615 and 1637. New edition by Pierre Pidoux, Kassel: Bärenreiter, pp. 77–85.
  30. ↑ Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo…, Libro Primo , Rome 1615 and 1637. New edition by Pierre Pidoux, Kassel: Bärenreiter, pp. 72 and 74–76.
  31. ↑ For the first time in the 4th variation, then u. a. in the 9th, 11th, 12th etc., there are also often chromatic countervotes, e.g. B. in the bass of the 3rd and 6th variation. See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, p. 77.
  32. ↑ Basically the version of the ostinato in the very first variation is already a play around. See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, p. 77.
  33. ↑ z. B. the ostinato begins in variation 3 in the alto, but then changes to the cadenza with the note b in the bass. See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, p. 77.
  34. ↑ That's already in Var. 2 the case! See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, p. 77.
  35. ↑ Silbiger writes: “… Meter and rhythm support the character differentiation: the ciaccona gets through a cycle after only two groups of three beats; the passacaglia takes more time to go about its business, not reaching the end of a cycle until after four groups of three beats. ". See: Alexander Silbiger: Bach and the Chaconne , in: Journal of Musicology 17 (1999), p. 358. Quoted here from: Thomas Schmitt: Passacaglio is actually a Chaconne… , In: Frankfurter Zeitschrift für Musikwissenschaft. Vol. 13, 2010, pp. 1–18, here: p. 5.
  36. ↑ Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, pp. 77-85.
  37. ↑ "Li passacaglia si potranno separatamente sonare, sonforme à chi più piacerà ...". See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, p. 77.
  38. ↑ The first key change from D to F takes place e.g. B. 22 bars before the end of the second Passacagli, and the following ciaccona begins in F. There is also a change from a to d in the middle of the third ciaccona. And in the last Passacagli it changes twice: from d to a and later to e. See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. ..., Kassel: Bärenreiter, p. 80 (second Passacagli & first Ciacona), p. 83 (third Ciaccona), p. 84– 85 (last passagli).
  39. ↑ according to the instructions for three bars that he gives in the Libro de 'Capricci (1624/26). See: Girolamo Frescobaldi, The First Book of the Capricci, Ricercari and Canzoni 1626 ( Organ and Piano Works Volume II ). New edition by Pierre Pidoux, Kassel: Bärenreiter, 1958. P. 96 (last page).
  40. ↑ The first piece begins in D major and goes through A and E to B minor; the other starts in F minor and goes through B flat minor to B flat major. Bernardo Storace, Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo , Venezia 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Firenze, 1982. pp. 56–65 (DAEh), and p. 65– 70 (fbB).
  41. ↑ Bernardo Storace, Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo , Venezia 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Firenze, 1982. pp. 43–50 (A minor), and p 50-56 (C minor).
  42. ↑ Bernardo Pasquini, Opere per tastiera - Vol. I - VII (7 vols.), A cura di (edited by) Armando Carideo, Colledara: Andromeda Editrice, 2002–2004; and Latina: Il Levante Libreria Editrice, 2006. From this: Vol. V (Colledara: Andromeda Editrice, 2004): pp. 10–13 (B flat major), p. 38–40 (C major), p. 55f ( D minor). Vol. VII (Latina: Il Levante Libreria Editrice, 2006): Vol. VII, pp. 8-11 (G minor).
  43. ^ Johann Kaspar Kerll: Complete Works for Keyboard Instruments, Vol. 3: Individual Pieces and Suites, ..., Vienna: Universal Edition, 1994, pp. 16–23.
  44. ^ Georg Muffat: Apparatus Musico Organisticus , 1690. (Volume III: Süddeutsche Orgelmeister des Barock)…, 3rd edition, Altötting: Musikverlag Alfred Coppenrath 1957, pp. 87–95.
  45. ↑ A small passacaille in Suite III in A minor of the Musical Flower Tufts (1695); and a larger Passacaglia in D minor at the end of the musical Parnassus (1738). Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument , ed. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901), pp. 12-13 (Passacaille in a), pp. 70-74 (Passacaglia in d).
  46. ↑ Willi Apel , "Buxtehude - the free organ works", in: History of organ and piano music until 1700 , ..., Kassel: Bärenreiter, 2004 (originally 1967), p. 594.
  47. ↑ See the CD: Biber - The Mystery Sonatas , John Holloway (violin), Davitt Moroney (harpsichord and organ), Tragicomedia (continuo). published by: Virgin classics / veritas, 1990, p. 9 & p. 61.
  48. ↑ David Moroney in the booklet text for the CD: Biber - The Mystery Sonatas , John Holloway (violin), Davitt Moroney (harpsichord and organ), Tragicomedia (continuo), published by: Virgin classics / veritas, 1990, p. 61.
  49. ↑ Johannis Cabanilles Opera Omnia , Vol. II, ed. v. Higini Anglès, Bibliotéca de Catalunya, Barcelona 1933/1992.
  50. ^ George Frideric Handel: Keyboard Works for solo instrument, (from the Deutsche Handel Gesellschaft Edition), hrg. by Friedrich Chrysander. New York: Dover Publication, 1982, pp. 158-160.
  51. ↑ See for example Adalbert Quadt (ed.): Guitar music of the 16th – 18th centuries. Century. 4 volumes. German publishing house for music, Leipzig 1970–1984, passim.
  52. ↑ Manuscript Bauyn,…, deuxième partie: Pièces de Clavecin de Louis Couperin, …, Courlay: Édition JM Fuzeau, 2006, pp. 48–49.
  53. ^ François Couperin, Pièces de Clavecin , Vol. 2, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, pp. 64-68.
  54. ↑ Jean-François Dandrieu, Pièces de Clavecin (1724, 1728, 1734),…, Paris: Editions Musicales de la Schola Cantorum, 1973, pp. 93–97.
  55. ^ Georg Muffat: Apparatus Musico Organisticus , 1690. (Volume III: Süddeutsche Orgelmeister des Barock)…, 3rd edition, Altötting: Musikverlag Alfred Coppenrath 1957, pp. 87–95.
  56. ↑ Jean-Yves Haymoz (transl. Heidi Fritz): Booklet text on CD: Georg Muffat - Armonico tributo , Ensemble 415, Chiara Banchini, Jesper Christensen, published by: harmonia mundi France, 1996, p. 3 & p. 18.
  57. ↑ Booklet on: Lully - Armide , G. Laurens, H. Crook, V. Gens, Collegium Vocale, Chapelle Royale, Ph. Herreweghe, published by: harmonia mundi France 1992 (2 CDs), pp. 98-101.
  58. ^ Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999, pp. 63-66.
  59. ↑ Booklet on: Purcell - King Arthur , The Deller Choir, The King's Musick, Alfred Deller, published by: harmonia mundi France 1979 (2 LPs), p. 4.
  60. ↑ Booklet on: Purcell - King Arthur , The Deller Choir, The King's Musick, Alfred Deller, published by: harmonia mundi France 1979 (2 LPs), pp. 4 & 7.
  61. ↑ a b c Raphaëlle Legrand: Chaconnes et passacailles […] . In: Hervé Lacombe (Ed.): Le mouvement en musique […] , Metz 1996, p. 159.
  62. ↑ Raphaëlle Legrand: Chaconnes et passacailles […] . In: Hervé Lacombe (Ed.): Le mouvement en musique […] , Metz 1996, p. 168.
  63. ↑ “… gli spagnoli si divertono per le strade la notte Cantando e Suonando ”. In: Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, p. 137.
  64. ↑ He also wrote a Chaconne in D major and a few other dances for it. HC Robbins Landon (ed.): The Mozart Compendium - His Life - His Music , Droemer Knaur, Munich 1991, p. 321. A recording exists in: Mozart - The Overtures (Complete Edition) , Basler Sinfonieorchester, Moshe Atzmon, published by: Ariola-eurodisc, 1974 (3 LPs).
  65. ↑ With well-known examples by: Claudio Monteverdi : Duet “Zefiro torna” (9th Madrigal Book (1651, posth.), SV 251); Heinrich Schütz : "God stand up" ( Symphoniae sacrae II, SWV 356, final part); Antonio Bertali : Chiacona (sic!) In C major for violin solo and B. c. ; Bernardo Storace: Ciaccona in C for harpsichord or organ (in Selva di varie compositioni… , Venice 1664); Heinrich Ignaz Franz Biber : Ciacona "Hear you people and let yourself be told" in the serenade with the night watchman (1673), and Ciacona of Partia III in Harmonia artificioso-ariosa (Salzburg 1696). See: Lucy Robinson (translated by Stephanie Wollny): Booklet text for the CD: Biber - Sacro-profanum , The Purcell Quartet u. a., Richard Wistreich (bass), published by: Chaconne, 1997 (2 CDs), p. 5 and p. 16-17.
  66. ↑ Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637.…, Kassel: Bärenreiter, pp. 77–85.
  67. ^ Bernardo Storace, Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo , Venezia 1664.…, Florence, 1982, (Ciacona on pp. 70-77).
  68. ↑ Bernardo Pasquini, Opere per tastiera - Vol. V , a cura di (ed. By) Armando Carideo, Colledara: Andromeda Editrice, 2004, pp. 38-40.
  69. ↑ Manuscript Bauyn,…, deuxième part: Pièces de Clavecin de Louis Couperin, …, Courlay: Édition JM Fuzeau, 2006. Table of contents pp. VII – X.
  70. ↑ unpublished, u. a. in MS Rés 89ter , Bibliothèque Nationale de France , Paris. See: Manuscrit Rés. 89 ter, Pièces de clavecin …, Courlay: Édition JM Fuzeau, 1999, pp. 24-27.
  71. ^ Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 ,…, Courlay: Édition JM Fuzeau, 1999. The chaconnas are on pp. 19–22 (G major), pp. 29–33 (G major , Lully: Phaëton ), p. 105 (D major, Lully: Galathée ) and pp. 106–108 (D major).
  72. ↑ Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 ,…, Courlay: Édition JM Fuzeau, 1999. The Passacailles in G minor are on pp. 51–54 and pp. 63–66 (Lully: Armide ) .
  73. ↑ The Passacaille in the Second Livre (1687) in the Suite in G minor. The chaconnas in the Premier Livre (1677): in the suites in C and D major; and in the Second Livre (1687): in the suites in F and G major (in G major two: a Chaconne grave and a Petitte Chaconne [sic]). See Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 ,…, Courlay: Édition JM Fuzeau, 1995. Nicolas-Antoine Lebègue, Le Second Livre de Clavessin, 1687 . Facsimile,…, Courlay: Edition JM Fuzeau.
  74. ↑ Four chaconnas in the MS Bauyn (Paris: Bibliothèque Nationale de France, Rés. Vm7 674-675 ), one of them in C, one in G, and two in F. The well-known Chaconne in F is doubtful because there is a second longer one Version ascribed to Louis Couperin. See: Manuscrit Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières… ,…, Courlay: Édition JM Fuzeau, 2006. P. 29 (C), P. 87 (F), P. 90 (F, Louis Couperin ?), P. 105 (G).
  75. ↑ Jacquet de la Guerre has a total of three chaconnas for harpsichord: two in the 1st book from 1687, and one in the livre from 1707. See: Élisabeth Jacquet de la Guerre: Les Pièces de Clavecin, Premier Livre , 1687,…, Courlay : Édition JM Fuzeau, 1997. pp. 18-21 ( L'Inconstante , D major / D minor), pp. 34-36 (A minor). And: Élisabeth Jacquet de la Guerre: Pièces de Clavecin (qui peuvent se jouer sur le violon), 1707 ..., Courlay: Édition JM Fuzeau, 2000. pp. 17–20 (D major / D minor).
  76. ↑ Chaconne in d in the 1st book of 1702. Louis Marchand: Pièces de Clavecin, Livre Premier 1702… u. a. (Complete edition)… Courlay: Édition JM Fuzeau, 2003, pp. 9–10.
  77. ^ Jacques Duphly: Troisième Livre de Pièces de Clavecin , 1756. New York: Performer's Facsimiles 25367 (no year), pp. 10-14.
  78. ↑ Rameau is only meant here as a harpsichordist, of course he wrote many chaconnas for his stage works.
  79. ^ François Couperin, Pièces de Clavecin , Vol. 1, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, pp. 93-96.
  80. ^ François Couperin, Pièces de Clavecin , Vol. 2, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, pp. 64-68.
  81. ^ François Couperin, Pièces de Clavecin , Vol. 4, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, pp. 90-96.
  82. ↑ See the recording (2 LPs): François Couperin: Concerts Royaux & Nouveaux Concerts 10, 12, 14 , S. Kuijken, W. Kuijken, B. Kuijken u. a., published by: Philips SEON, (undated).
  83. ↑ Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument , ..., Wiesbaden: Breitkopf & Härtel, (originally 1901), pp. 12–13 (Passacaille in a), pp. 30–32, (Chaconne in G), pp. 44 (Chaconne in a), p. 50 (Chaconne in e), p. 54-56 (Chaconne in F) and p. 70-74 (Passacaglia in d).
  84. ↑ Suite in G minor (HWV 432, from the 1st collection from 1720), in: George Frideric Handel: Keyboard Works for solo instrument, ..., New York: Dover Publication, 1982, pp. 158–160.
  85. ↑ 2 chaconnas in G, one in C, one in F, one in g. Georg Friedrich Handel, Piano Works I - Various Suites, Part a (Wiener Urtext Edition) , Vienna / Mainz: Schott / Universal Edition, 1991, pp. 11–29 (Chaconne in C major). And see: Georg Friedrich Handel, Piano Works III - Selected Various Pieces (Wiener Urtext Edition) , Schott / Universal Edition, 1994, numbers 28–31 (index pp. 4–5).
  86. ↑ Passacaglia in D minor (BuxWV 161), Ciacona in E minor (BuxWV 160) and in C minor (BuxWV 159), Praeludium, Fugue and Ciacona in C (BuxWV 137).
  87. ↑ In the suites in F minor and D major, and a single piece in G. See: Georg Böhm, Complete Works for Harpsichord , ..., Breitkopf & Härtel, 1985, pp. 18–19 (F minor), and pp. 36-38 (D major), pp. 54-55 (G major).
  88. ↑ The Ciacona in F minor, and one in D and one in C. See: Johann Pachelbel: Hexachordum Apollinis 1699 ,…, Kassel: Bärenreiter 1958/1986, pp. 36–42 (C) and pp. 43–48 ( D). See also: German piano music of the 17th and 18th centuries, Vol. 1 (17th century) ,…, Munich: Chr. Friedrich Vieweg 1960, pp. 16-19 (F minor).
  89. ^ In: Six musical parts (Nuremberg 1697). See: Johann & Johann Philipp Krieger, Complete Organ and Keyboard Works I ,…, Kassel et al .: Bärenreiter, 1995, pp. 88–96.
  90. ↑ One each in his keyboard suites in D major “July” and E major “November” (1722 “Monthly Clavier Fruits”); and one each in the handwritten suites in C major and A major. See 1 .: Christoph Graupner, monthly clavier fruits (1722) , Courlay: Édition JM Fuzeau, 2003, pp. 82–84 (July) and pp. 122–123 (November). See 2 .: Christoph Graupner, 17 Suites pour Clavecin (manuscrit inédit) ,…, Courlay: Édition JM Fuzeau, 1993, pp. 29-31 (C), pp. 84-89 (A).
  91. ↑ In Musicalischer Parnassus (1738?). Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument ,…, Wiesbaden: Breitkopf & Härtel, (originally 1901), p. 44 (Chaconne in a), p. 50 (Chaconne in e).