 | Biber, Heinrich Ignaz - "Passacaglia" in G Minor for Marimba C. 105 Marimba |
VoirPDF : "Passacaglia" in G Minor (C. 105) for Marimba (4 pages - 164.22 Ko)1 122x⬇ MP3 : "Passacaglia" in G Minor (C. 105) for Marimba 127x⬇ 1966x
Vidéo :
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| Compositeur : | Biber, Heinrich Ignaz (1644 - 1704) | ||||
| Instrumentation : | Marimba | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1674 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 01 Déc 2016 Heinrich Ignaz Franz von Biber's "Passacaglia" in G minor is part of a group of pieces composed either for the Archbishop of Salzburg, Maximilian Gandolph, Count Khüenburg (Biber's employer) or the Salzburg Confraternity of the Rosary. Finished probably in 1676, the bulk of the pieces are violin sonatas on the 15 mysteries of the rosary and are among the most important scordatura works ever written for the violin. The basis of the Passacaglia is a descending tetrachord: G, F, E flat, D. Many such pieces are built on descending tetrachords, but in this case it may constitute a reference. In the original publication the piece is headed by an illustration of the what is called the Guardian Angel, in this case appearing to a small child. The Passacaglia's opening four notes, which become its bass pattern, may refer to the traditional hymn to the Guardian Angel, "Einen Engel Gott mir geben" (God, Give Me an Angel), which has a similar tune and was published in 1666. Sixty-five statements of the descending tetrachord support variations in this continuously developing work. After 30 statements at the opening pitch level, the motive moves up an octave for 15 statements, then back down to the original level for the last 20. This pattern, however, does not delineate the structure of the piece. Five sections of similar length are marked off by appearances of the descending tetrachord played alone, grouping the variations thusly: 1-9, 10-19, 20-36, 37-50, and 51-65. Generally, the notes of the Passacaglia theme sustain while variations occur above them, requiring great skill on the part of the player. For some of the variations, particularly those with figures that rocket rapidly skyward, Biber does not sustain the notes of the theme, allowing the player ample time to execute the flourishes. Over the constantly sounding theme, Biber creates a series of contrasting variations of various moods before closing the piece by outlining a G major triad. It is one of the best works for solo violin before those of J.S. Bach. Although this piece was originally written for Violin, I created this arrangement for Solo Marimba. Partition centrale : | Passacaglia (7 partitions) | | |||
