![]() ![]() Mattheson confirms this tonal tendency in his Perfect Kapellmeister in 1739 ( Johann Walther: Johann Walther, Musical Lexicon, Leipzig 1732.)Īccording to this, the Passacaglia, in contrast to the Chaconne, is characterized by a softer, sweeter or more melancholy character, and therefore appears more often than this (but not always!) In minor. ![]() set in such tones that have a soft third.“ The whole difference is that it is ordinarily slower than the chaconne, the melody is milder, and expression is not so vivid and that's why the Passecaillen are almost always in the modes minoribus, d. Passacaglia or Passagaglio, Passacaille, Is actually a chaconne. As in the above formulation by Mattheson, it is "sister genres" that are sometimes difficult to differentiate, at least on paper, and are often treated in the same breath by the composers themselves and contemporary Baroque music theorists. ![]() In the musicology of the 20th and 21st centuries, much has been written or speculated about the difference between Ciaccona and Passacaglia, or Chaconne and Passacaille. (Johann Mattheson: The Perfect Kapellmeister 1739, p. "The greatest of the dance tunes is probably the Ciacona, Chaconne, with her brother, or her sister, the Passagaglio, or Passecaille. ![]()
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