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. 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. 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. 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.
Problems playing this file? See media help.Ĥ time, which is typical of the form. See Example 1 for Bach's and Raison's themes.Īwadagin Pratt on a Steinway piano in the White House 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. 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. It is possible that BWV 582 was composed in Arnstadt soon after Bach's return from Lübeck (where he may have studied Buxtehude's ostinato works). It is not known precisely when Bach composed the work, but the available sources point to the period between 17. There is some evidence that the original was notated in organ tablature. 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.