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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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(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).

References in periodicals archive ?
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 Inventions and the Pieces breves are suites of five movements, the large-scale Passacaille contains different variations, including a fugue to end the piece, and the Quattro tempi di mazurka form a four-movement work.
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.
The first of his three new works for POB will be Passacaille, to music of Anton Webern (Five Movements for String Quarlet Op.
For a more nuanced picture of the relationship of passacaille and chaconne than that on pp.
Handel (1981) for cello ensemble and strings; Passacaille escurialense para orquesta de cuerda (1992); and Endechas para una reina de espana (1994).