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Concerto for piano and orchestra
2nd movement: Passacaglia (ternary form)
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form scheme
2nd movement |
Passacaglia is a Spanish folk-dance, which came to Italy and France in the 16th century,
together with the guitar music, and there it became a dance of the court and the stage. The
Passacaglia is an important variation-based form of instrumental music in the 17th and 18th
centuries. The variations are built on a constantly recurring bass melody of 8 bars.
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bars 1-9
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In Schiske’s piano concerto the theme in slow triple measure comprises 3 bars with 9 quarter notes which are introduced by the soloist. Above them a contrasting theme begins to
develop, which assumes rhythmic density.
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bars 10-19
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The theme remains the same, but the eighth movement turns into triplets and on the
resumption of the theme into a sixteenth movement.
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bars 19-25
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The orchestra, behaving as a listener so far, takes up the theme in the celli and
double bass, the soloist weaving around it in powerful chords.
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bars 26-33
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In a lively bridging passage the strings and horns introduce a triplet motive, which
is taken up by the soloist, immediately passed on to the orchestra and carried on by the soloist.
A musically playful element predominates.
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bars 45-53
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The centrepiece introduces a new theme presented by the orchestra in espressivo legato.
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bars 54-64
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The unfolding of the centrepiece theme begins with the same starting notes, but
leads the melody into new musical spheres.
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bars 114-122
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In part A* the passacaglia theme is played by the trumpets in majestic threefold
fortissimo. |
bars 123-131
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From the orchestra the soloist takes over the theme in powerful chord beats.
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bars 168-177
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In the Coda the theme of the passacaglia is contrasted with the theme of the
centrepiece. Both are sounded simultaneously by the orchestra in reduced volume.
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bars 177-188
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The soloist closes the the 2nd movement with the passacaglia theme played in a
kind of canon.
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