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see chaconne and passacagliachaconne and passacaglia
, two closely related musical forms popular during the baroque period. Both are in triple meter time and employ a characteristic recurring harmonic pattern or actual bass line of four or eight
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



(1) An old Spanish dance that became popular in Western European countries in the 17th-18th centuries. The tempo is slow, and the meter triple. The passacaglia was in vogue at the court of Louis XIV in France.

(2) An instrumental piece (usually for organ or harpsichord), the foundation of which is the basso ostinato (ground bass). As a rule, the passacaglia is majestic; sometimes it is sorrowful or tragic. It is in 3/4 or 3/2 meter. Among the composers who wrote passacaglias are D. Buxtehude, F. Couperin, J. S. Bach, and G. F. Handel. Since the end of the 19th century, the form has been used by C. Franck and M. Ravel (France), P. Hindemith (Germany), and D. D. Shostakovich (USSR; the Eighth Symphony, the Piano Trio, and the Violin Concerto No. 1).

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Yet, at least as far as verbal art and in particular the history of the novel after Modernism is concerned, a development can be observed that justifies Pater's statement to a certain extent: as opposed to previous periods there is in fact an increasing number of authors of fiction who purport to approach "the condition of music" in their writings in some way or other: Thomas Mann (with "Tonio Kroger" and Der Zauberberg), James Joyce (with the "Sirens" chapter of Ulysses), Virginia Woolf (with "The String Quartet" and The Waves), Aldous Huxley (with Point Counter Point), Anthony Burgess (with Napoleon Symphony), and Robert Pinget (with Passacaille), to name but a few.
One can readily point to Robbe-Grillet's Jealousy, Robert Pinget's Passacaille, Raymond Federman's Double or Nothing, and Robert Coover's "The Babysitter." Other examples can be found with closer resonances to Beckett's texts, such as Robbe-Grillet's In the Labyrinth (1959), the beginning of which reads as a set of variations on the final sentence of Molloy: "I am alone here, under cover.
Handel: Music for the Royal Fireworks, original version; Concertos in F major and D major; Passacaille; Occasional Suite in D major.
serious dancing]; and Monsieur Pecour (as I am inform'd) in the Chacoone or Passacaille'.
Fittingly, artistic director Turocy summed up much of baroque dance's particularity and charm in Guillaume Louis Pecour's solo from Passacaille d'Armide.
The notebook ends with sketches for the Passacaille, composed in the summer of 1906.
The Theatre of Shaman, founded in France in 1981 by Bruno Meyssat, staged Passacaille, which invites the spectator to enter into a world filled with the reminiscences of the stage director's peasant childhood.
[euro]29.] Contains: Inventions pour guitare: Hommage a Bach; Passacaille; Pieces breves; Prelude et interlude; Quattro tempi di mazurka.
For several reasons, the passacaille in Act 5 scene 2 of Jean-Baptiste Lully's tragedie lyrique Armide provides a fascinating study in phrase structure.
A fairly long variation, La Folie d'Espagne pour Femme, follows and subsequently Pecour's Passacaille from Lully's opera Persee (1682) for a man and a woman, but arranged as a solo.
He acknowledges the Ciacona and the variation set "will admit of [sic] performance on the organ" (ibid.), but the Passacaglia "being a 'passacaille en rondeau,' is at root pure stage music" (ibid.).