The Passacaglia: a form of great integrity, grandeur, and power

Started by kyjo, October 20, 2013, 10:21:44 AM

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jochanaan

#60
May 12, 2015, 08:42:27 AM
Britten and Shostakovich both liked the Passacaglia/Chaconne form.  I am familiar with the Passacaglias from Britten's Peter Grimes and Violin Concerto, and the ones from Shostakovich's Eighth Symphony and String Trio--all magnificent! ;D
Imagination + discipline = creativity

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#61
May 14, 2015, 06:46:03 PM
Quote from: jochanaan on May 12, 2015, 08:42:27 AM
Britten and Shostakovich both liked the Passacaglia/Chaconne form.  I am familiar with the Passacaglias from Britten's Peter Grimes and Violin Concerto, and the ones from Shostakovich's Eighth Symphony and String Trio--all magnificent! ;D

Don't forget about Shostakovich's Violin Concerto No. 1. I know you're familiar with this one.

Madiel

#62
May 17, 2015, 04:23:51 AM
There are passacaglias in several of Shostakovich's string quartets (no.6 is the clearest, but I'm sure there's a couple of others as well) and also the G sharp minor prelude in the 24 Preludes and Fugues for piano.
Nobody has to apologise for using their brain.

Luke

#63
May 17, 2015, 05:19:29 AM
Quote from: jochanaan on May 12, 2015, 08:42:27 AM
Britten and Shostakovich both liked the Passacaglia/Chaconne form.  I am familiar with the Passacaglias from Britten's Peter Grimes and Violin Concerto, and the ones from Shostakovich's Eighth Symphony and String Trio--all magnificent! ;D

In Britten's Third Cello Suite there is a Passacaglia which generates enormous power and emotional tension from the physical difficulty/technical ingenuity involved. One of those pieces where the limited canvas involved (one cello) means more rather than less.
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