November 30, 2014 - Advent 1

Passacaglia - Douglas E. Wagner

Advent Passacaglia - Mark Schweizer

Passacaglia in c minor BWV 582 - J.S. Bach

Hymns: #640 Aberstwyth, #721 Ton-Y-Botel, 

              #73 St. Stephen

This week’s music with the exception of the communion anthem is held together by form. 

The passacaglia is a form that originated in the 17^th century. These pieces are typically in triple meter (i.e. 3/4) and have a somber basso ostinato (a repeated bass line). The pieces are often written as a set of variations of ever increasing intricacy and complexity. The repeated idea does not always need to be a bass line but can present itself in any voice part.

The prelude is taken from Douglas E Wagner’s (b. 1952) set of Eight Psalm Impressions. This “Passacaglia”  is inspired by Psalm 52 “The goodness of God endureth continually.” The passacaglia is an ideal form for this verse. Just like God’s goodness, ostinato “endureth continually” through the set of eight variations and the coda. One noticeably different quality of this passacaglia is that the theme is in a major key rather than the more common minor key. Wagner began his career as a high school music teacher that composed on the side but with more than 2,500 publications to his credit he has become a full time composer. He currently resides in Indianapolis with his wife.

The gradual anthem by Mark Schweizer (b. 1956) is another excellent example of a passacaglia with a few interesting features. Schweizer is a native of Florida and holds degrees from Stetson University and the University of Arizona. He has held many university positions and is the owner and editor of St. James’s Press. In addition to his musical accomplishments Schweizer is the author of the St. Germaine mystery series including titles like The Alto Wore Tweed and The Tenor Wore Tap Shoes. The anthem is a set of nine variations in which the ostinato takes as a repeated harmonic structure rather than a bass line. The piece opens with the women singing a chain of suspensions a cappella in three parts. The organ joins the ladies of the choir for the second variation. The next variation is for a solo baritone with a new theme followed by the entrance of all the men. The women return with the same notes as the opening but with text. Variation six varies the men’s initial themes which are combined with the previous variation to make up variation seven.  The last two are further variations on numbers five and seven with an increased drive to the end before the sudden halt and concluding chords.

The postlude is Bach’s magnificent Passacaglia and Fugue in c minor BWV 582. I will only be playing the passacaglia because of time. Pieces like this and the ciaconas of Buxtehude make use of common improvisatory techniques and figures. Bach’s piece is a set of 21 variations (20 variations and the fugue which is the final variation) of varied texture, rhythm, and placement of the theme. The piece is in c minor, a key associated with longing which seems appropriate as we begin Advent. The work is rife with pent up tension that is released but not quite as the final chord normally goes into the fugue. It is easy to see why this is the standard for most pieces written in this form and why so many arrangements for orchestra and other ensembles exist.