Analysis of the Chacony for Strings in G minor by Purcell

In the Chacony for Strings by Purcell, the eight-bar bass figure introduced by the lower
strings, serves as a foundation for eighteen variations. The series of variations over a
repeated bass figure is in fact considered to be a characteristic of a chacony. Purcell wrote
this instrumental music early in his career, partly as a way of teaching himself the rules of
counterpoint.

In 1677, Purcell took his first post, that of a composer for court violin band known as the
Twenty-Four Violins, replacing the esteemed Matthew Locke, who had just passed away. The
G minor chacony for strings is probably one of the pieces he wrote in his new position. The
chacony does not specify whether the parts for two violins, viola and bass should be played
by individual players, as in a string quartet, or for a full string ensemble. It is vital to note that
Purcell called it a chacony rather than a chaconne, the common French title for a piece
written over a repeating bass line. It is a magnificent example of the baroque mastery of
ostinato variations, which grow in power and enchantment with each repetition of the same
eight bar phrase. The chaconne shares the rhythmic profile of the sarabanda. But it is further
defined by its use of the ground bass, that is the bass line , a few bars long, repeated several
times for the length of a piece of music. It is suggested that the chacony was part of some
incidental music for a now forgotten play who would almost certainly be a tragedy to judge
by the mood of the music. The music was originally scored for viols. This performance works
well in both instrumentations. In any case, a performance of such a work would have likely
occurred at court in a suitably small room to a selected audience in the company of royalty.

This piece can be compared with Purcells most famous composition, the Aria Dido
Lament from his opera Dido and Aenas (1685). In that piece Purcell also employs a ground
bass, also in the somber key of G minor, and in a chaconne rhythm. Unlike the aria, however,
the Chacony is consistent with other instrumental chaconnes in its employment of variation
technique, that is, as each eight bar section of bass pattern repeats, the other instruments vary
the melodic material through rhythmic changes, melodic decoration or harmony.

There are eighteen variations in nine matching pairs over the ground, varying in orchestration
or style. The bass line theme is continuously repeated and appears in different voices, not just
the bass. The pairs of variations are distributed throughout the piece, not played
consecutively. By using these devices, as well as disguising the ends and starts of the
variations, Purcell creates an ever-changing kaleidoscope of colours and a musical narrative
that makes analysis rather dry. Certainly the effect is one of great beauty, reflection and
melancholy.

The eight bar ground consists of the descending fourth of the passacaglia balanced by a
cadence. But it is cunningly inflected in the second bar which is unexpectedly F sharp and the
fifth bar which is B natural. It is harmonised with the greatest richness and freedom. The
effect is all the more powerful mainly because the writing is nobly restrained and the
structure is so clearly articulated by pairs of events like symmetrical columns the ground
remains in G minor throughout the eighteen variations except for variation number six and
fourteen. In these two mentioned variations, it is extended by the means of a series of
transactionary modulations. There are two variations with the bass silent, variation numbers
eight and eleven, when the ground migrates respectively to the first violin and the viola.
There is a passage of running quavers in a descending pattern in variation nine which is
matched by ascending quavers in fourteenth variation. In this chacony, Purcell employs each
of his variation techniques twice, making pairs of variations that create a satisfying, large-
scale structure. What is asymmetrical about this symmetry, however, is that the
corresponding variations are not consecutive, but spread across the piece. The musical
language of the chacony is less French that it is often thought. It uses the characteristic ||.|
rhythm of much French triple-time dance music and there is the good deal of writing in
patterns of dotted notes. In some of the variations, the bass figure appears in the higher-
voiced instruments.

According to Britten, the work concludes with a pathetic variation, with dropping semi-
quavers and repeated soft which is in itself Purcells own instruction. The Chacony in G
minor was produced for the string consort and we are bound to respect this piece of music
recognizing the full worth of its musical background. Although it was written many years
ago, it is vital for us to appreciate this piece of music!
 the foundation for 18 variations- 8 bar bass figure
characteristic of the chacony-repeated bass
Introduction figure

1677- Purcell became a composer of the Twenty

Four Violins replacing Matthew Locke;
Purcell wrote this piece in his new position;
It does not specify whether it is written for
individual playersor for the string ensemble;
example of the baroque mastery of ostinato
variations that grow in power and enchantment;
chaconne shares the rhythmic profile of a
sarabanda and there is the use of ground bass
repeated several times;
Historical chacony was part of some incidental music for a
now forgotten play who would almost certainly
Background be a tragedy to judge by the mood of the music
( scored for viols);
its performance would be held at court in a
small room to a selected audience of royalty;
this piece can be compared with Dido Lamet fro
mthe opera of Dido and Aenas it differs because
the chacony's musical techniques are varied
through rhythmic changes, melodic decoration
or harmony.

18 variations in 9 matching patters, the

matching pairs are not played consecutively
variations vary in order and style;
The effect that bass line appearsin different voices;
Purcell creates an ever changing kaleidoscope
Purcell creates of colours and a musical narrative;
Its effects are of beauty, reflection and
melanchony.

descening fourth of the passacaglia balanced by

a cadence
inflected-2nd bar F# and 5th bar B natural;
harmonised with the greatest richness and
freedom;
powerful writing-structure is articulated;
all variations in G minor except for 6 and 14
Style (transactionary modulations);
variations 8 and 11 bass silent-ground in in the
1st violin and viola;
variation 9 and 14- a passage of running quavers
ascending and descending respectively;
corresponding variations are not consecutive
(asymmetrical)

Britten- work concludeswith a pathetic

variation, with dropping semiquavers and
Conclusi repeated soft