Passacaglia was initially composed in 2003 for violin and piano on the commission by the Joseph Joachim International Violin Competition. In 2007, Pärt composed a version for one or two violins, vibraphone (ad lib.) and string orchestra, dedicated to violinist Gidon Kremer for his 60th birthday. The piece premiered on 4 June 2007 in Saarbrücken’s Ludwigskirche at the Musikfestspiele Saar international festival, performed by Gidon Kremer and Kremerata Baltica.
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 w…
Passacaglia was initially composed in 2003 for violin and piano on the commission by the Joseph Joachim International Violin Competition. In 2007, Pärt composed a version for one or two violins, vibraphone (ad lib.) and string orchestra, dedicated to violinist Gidon Kremer for his 60th birthday. The piece premiered on 4 June 2007 in Saarbrücken’s Ludwigskirche at the Musikfestspiele Saar international festival, performed by Gidon Kremer and Kremerata Baltica.
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.
