Passacaglia in C minor

Historical context

This Passacaglia in C minor belongs to the later Weimar period, circa 1715, as noted by the book. Forkel describes it as a “very clever and original Passacaglia,” and the book, citing Forkel, suggests it was “written originally for the Clavicembalo and pedal,” seeming “suitable rather for a two-manual Clavicembalo and pedal than for the Organ.”

The book highlights that a particular bass ostinato motive, which first appeared in Bach’s Capriccio on the departure of his beloved brother, recurs in the first chorus of the cantata ‘Weinen, klagen,’ and was later adopted into the ‘Crucifixus’ of the Mass in B minor, as well as into this Passacaglia. This bass theme, the book explains, “had haunted Bach from his earliest youth,” and here it is “cast in its final mould as a passacaille.” The book further notes that Bach “gradually ennobled and inspired old forms,” even “venturing to introduce a passacaille in the Crucifixus,” where the theme, recurring thirteen times, “holds the fancy spellbound in contemplation of the stupendous scene.”

Drawn from Forkel, Johann Nikolaus, 1749-1818; Terry, Charles Sanford, 1864-1936, Johann Sebastian Bach; his life, art, and work, tr. from the German of Johann Nikolaus Forkel, with notes and appendices (1920); Spitta, Philipp, 1841-1894, Johann Sebastian Bach : his work and influence on the music of Germany, 1685-1750 (1899); Spitta, Philipp, 1841-1894, Johann Sebastian Bach : his work and influence on the music of Germany, 1685-1750 (1899) — public domain, archive.org.