Post by CDBJSB's Passacaglia and Fugue in C minor has given me repeated
psychedelic experiences, even before you told me that the repeated notes
are a feature of the form. Thinking of them as a ground bass did not
impair my enjoyment.
Also, I've read that they're supposed to be in 3/4 time.
Can you really call the Bach one a ground bass, when in the
middle portions the theme migrates up to the top register
and back down again?
It's also, incidentally, one of the few where the fugue relates
in more than just key to what it follows -- the d minor t & f is
another. A few in the WTC collection do.
Perhaps the greatest monument of solo piano music of the
20th century is Stefan Wolpe's Passacaglia. I first heard it in
2000 when Juilliard offered a free series called Piano Century,
with 10 recitals, each featuring works written in one of the
decades (in order, of course). (I didn't hear about it until the
fourth one, the 1930s.) No composer was represented by
more than one work, and no Juilliard piano student got to
play more than one work.
(Note to lar3: I went to each one, from 1930s to 1990s, out
of curiosity, not expecting to like much, because I don't particularly
care for solo piano music, but found things to like from every decade.)
The Wolpe just blew me away. Not only could the theme be
followed through all the variations, but it's written in (what
seems to be) strict Schoenbergian 12-tone style. I acquired
as many of the (surprisingly many) recordings as I could,
which brought along with them -- it's about 12 minutes -- other
works of his, or of contemporaries, and learned a bit of his
biography. As a refugee in Palestine he turned from Modern
to folk-music influences (sort of like Bartok) and then moved
to New York for a while, where he fit in with the avant-garde
community. (His twelve-tone phase didn't last long.)
If you're curious about that sort of thing, do give a listen
to those two short things: Schoenberg's Survivor from
Warsaw and Wolpe's Passacaglia. (The oft-recommended
Berg Violin Concerto doesn't do anything for me.)
Post by CDBTry listening to this, Lar, and think of night and the approaching
storm. Try to decide when I begin flying in the dark, with the cold
rain driving through my body like Saint Teresa's arrows, and the
crashing thunder the same as the mountains below me, and the clouds lit
by fearful hidden lightnings. Can't do that on a Wurlitzer.
http://youtu.be/zzBXZ__LN_M
What a fine instrument! A little after Bach's time, though.
Does "Lutheran Church, Amsterdam" suffice to identify
it uniquely?
I haven't seen an organist sway around like that since
Virgil Fox. I've left the tab open to listen till the end but
come back here to finish up AUE. From your description
I expected mystical visuals like the first movement of
*Fantasia*. (I haven't watched the reissue with Stokowski's
orchestra replaced by some modern guy.)
Another JSB wonder is the g minor Fantasy and Fugue. The
opening line is spectacular (I think maybe a cello could play
it all the way from top to bottom) -- but in the middle of the
Fantasy is a chordal passage where he just winds straight through
all twelve keys (see previous discussion), one chord each, making
use of diminished sevenths in a way that wouldn't be approached
until Beethoven turned it into a cliché. (Probably his contemporaries
would say, Oh, he's just showing off. That's our Seb!)