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448:
41:
486:, another musical form that was commonly employed during the Baroque era. A passacaglia also consists of a set of related variations, but with the variations sharing a recurring melody in the bass line, rather than a shared harmonic series for a chaconne. While the Chaconne in G minor received its "chaconne" label from its first publication in 1867, some musicologists have suggested that it would more accurately be described as a passacaglia, due to its repeated bass line.
212:
534:
called it a "vital performance". Heifetz continued to perform the chaconne, along with other pieces from his debut, throughout his career. According to the musicologist Dario Sarlo, he performed the chaconne 253 times between 1917 and 1956, after which he focused more on chamber music. In 1929, he
154:
between variations, atypical of other chaconnes from the
Baroque era. Some suggest that this characteristic, along with the observation that the chaconne is dissimilar to Vitali's other surviving compositions, is indicative of a different composer.
467:
scale. This bass line is repeated over fifty times while the violin part goes into increasingly complicated variations on the original theme. Though the composition is in the key of G minor, the
Dresden manuscript includes only one flat in the
241:, a collection of 18th-century compositions for violin. David gave the composition its "Chaconne" title and substituted the continuo accompaniment with a piano part. He also embellished the violin part with advanced techniques, adding
478:
notes are manually indicated throughout, as was common in music manuscripts from the 18th century. The violin part changes keys suddenly between variations on several occasions, uncharacteristic of chaconnes from the
Baroque era.
207:
suffix "-ino", may have been an additional reference to the younger Vitali instead of his father. Print editions of the chaconne have designated Vitali as the composer, and it is best known of the works attributed to him.
340:
in 1911. He made significant edits to the piece, including rearranging the variations, removing some of them, and adding even more embellishments to the violin part. Charlier's arrangement has been characterised as a
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355:
calling it "one of music's famous cases of lily-gilding". It is the version most commonly performed in concert and most editions of the chaconne that have been published since, including ones by
389:
begins in a similar style to the original chaconne, it incorporates more modern and experimental sounds in the last third of the piece, including deconstructed harmonies and a "hallucinatory
666:
187:
The words "Parte del Tomaso
Vitalino" are written on the first page of the Dresden manuscript. There is no known musician named Tomaso Vitalino; instead, the name is thought to refer to
300:, uncharacteristic of other Baroque pieces, as well as the dissimilarity between the chaconne and other works known to have been composed by Vitali. Wolfgang Reich, writing for
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The earliest known version of the chaconne is a manuscript that may have been transcribed in the early 18th century. Various sources have identified the manuscript's
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in the continuo part, the lowest voice (this bass-line pattern is traditionally associated with lament and figured, at a time, more prominently in the
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arranged it for violin and piano. The origin of its composition has been debated, with some musicologists hypothesizing that the work is a
318:
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casting doubt on the idea that Vitali was the composer. He wrote that he had consulted with John G. Suess, who authored Vitali's entry in
176:
150:), above which the violin part presents increasingly complex variations on the original theme. There are several abrupt changes in the
1387:
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argued that the
Dresden manuscript was convincing evidence that the chaconne was composed in the mid-18th century and not by David.
175:
as Johann Jacob
Lindner or Johann Gottfried Grundig, both of whom worked at the Dresden court. The manuscript is located at the
397:
presented it as a "serious and even profound" example of the deconstruction of a classical composition, and Andrew
Clements of
748:"Vitali: Partite sopra diverse sonate per il violino. Partite sopra diverse sonate per il violone. 2 Sonate a violino e basso"
1313:
1285:
1169:
729:
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496:"At the first few bars of Vitali's 'Chaconne', with which the program began, the audience seemed to sense a rising star."
1079:"Henze: Violin Concerto No 2, Il Vitalino Raddoppiato CD review – rich, indulgent, and always interesting experiments"
535:
opened 12 out of 29 recitals with the chaconne. In 1950, Heifetz recorded the
Charlier–Auer edition with the organist
434:
later arranged the chaconne for cello and piano. His performance of the arrangement at a 1959 recital was praised by
1129:"Luigi Silva Gives a 'Cello Program; He Presents Own Arrangement of Vitali Chaconne for Violin in Town Hall Recital"
1426:
1421:
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in 1917 with the chaconne and regularly performed it as part of his concert repertoire for the next four decades.
293:
571:
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described it as "ometimes acerbic, sometimes achingly beautiful". However, John von Rhein, in a review for the
1162:
Anthology of
Musical Forms – Structure & Style (Expanded Edition): The Study and Analysis of Musical Forms
1416:
270:
864:
142:
Differing somewhat from the major archetypes of ground bass variations, the chaconne features a descending
127:
made significant alterations to the chaconne in the early 20th century, transforming it into a virtuosic,
1187:"Violin Superstar Julia Fischer Performs Rarely Heard Concerto This Weekend With the Cleveland Orchestra"
1044:
447:
111:
manuscript that may have been transcribed in the early 18th century is the earliest known version of the
412:
In 1899, Breitkopf & Härtel published a version of David's edition for viola and piano, arranged by
306:, proposed changing the piece's nickname from the "Vitali Chaconne" to the "Dresden Chaconne". However,
264:
Music scholars have debated the origins of the chaconne's composition. In 1964, the German musicologist
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116:
65:
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A chaconne is characterised by a set of variations on a repeated harmonic progression, typically in a
842:
352:
225:
196:
720:
Kennedy, Joyce; Kennedy, Michael; Rutherford-Johnson, Tim, eds. (2013). "Vitali, Tomaso
Antonio".
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671:
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961:
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188:
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32:
393:". It received praise from music critics for its style and interpretation of the chaconne;
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459:. Like many early Baroque chaconnes, the Chaconne in G minor features a descending
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wrote that Heifetz played the chaconne "grandly, nobly", and Paul Morris of the
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wrote an arrangement of the chaconne for violin and piano that was published by
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1259:
Morris, Paul (28 October 1917). "Another great violinist comes out of Russia".
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Other notable violinists who have recorded the chaconne are Zino Francescatti,
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342:
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265:
156:
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131:-style showpiece. It has been arranged by numerous other composers, including
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897:"Collections: Orchestral – 'Zino Francescatti Plays Favorite Violin Pieces'"
288:. Keller suggested that David modeled the composition after the chaconne in
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and published in 1977. It is an expansion on the chaconne, presented as a
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for violin. Others have questioned its composition due to its numerous
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143:
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409:, wrote that the composition's half-hour duration "seemed excessive".
1216:"Ciaccona and Passacaglia: Remarks on Their Origin and Early History"
644:(in German). Saxon State and University Library (SLUB) Dresden. 2010.
452:
253:. Other edited versions of the Dresden manuscript were published by
1234:
112:
385:, and has been characterised as a "chaconne on a chaconne". While
211:
1106:"Hofmeister: Musikalisch-literarischer Monatsbericht. Band: 1899"
839:"Hofmeister: Musikalisch-literarischer Monatsbericht. Band: 1911"
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92:
54:
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The chaconne was first published in 1867 by the German musician
242:
96:
75:
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as "transcendental virtuosity and soaring nobility of style".
512:
Charlier's arrangement of the chaconne was the first piece of
351:
describing it as "a highly personal Romantic arrangement" and
1278:
Sounding Authentic: The Rural Miniature and Musical Modernism
808:"Sein oder nicht sein? Nochmals zur 'Chaconne von Vitali'"
1358:"Prayer to an Angel: Rare Works of Italian Romanticism"
695:
Jones, Barrie, ed. (2014). "Vitali, Tomaso (Antonio)".
284:
composed by David, comparing it to similar hoaxes by
203:
and other chamber music. "Vitalino", containing the
191:(1663–1745), a Baroque composer and violinist from
103:, traditionally attributed to the Italian composer
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781:"La ritardata 'scoperta' della ciaccona di Vitali"
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956:"Henze: Vitalino Raddoppiato; Violin Concerto 2"
524:. His performance was praised by music critics:
440:as having "added dignity to the old showpiece".
980:
978:
976:
345:version of the chaconne, with Robert Maxham of
18:Composition attributed to Tomaso Antonio Vitali
1331:"Jascha Heifetz, the new genius of the violin"
182:
1222:Journal of the American Musicological Society
948:
946:
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482:The chaconne form is closely related to the
463:, beginning with a four-note segment of the
280:; they hypothesized that the chaconne was a
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115:, but it was not published until 1867 when
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697:The Hutchinson Concise Dictionary of Music
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177:Saxon State and University Library Dresden
39:
1388:International Music Score Library Project
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724:(6th ed.). Oxford University Press.
611:"The Curious Case of the Vitali Chaconne"
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520:, accompanied by Frank L. Sealey on the
332:The Belgian violinist and music teacher
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135:, who used it as the basis for his work
1306:The Performance Style of Jascha Heifetz
1280:. Oxford University Press. p. 64.
800:
798:
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367:, are based on Charlier's arrangement.
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1108:(in German). Austrian National Library
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123:composed by David rather than Vitali.
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277:Die Musik in Geschichte und Gegenwart
985:von Rhein, John (27 November 1981).
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159:began his American debut recital at
45:First page of the Dresden manuscript
1185:de Oliveira, Philip (11 May 2017).
199:and is otherwise known for writing
13:
1354:
1308:. Routledge. pp. 67–69, 233.
1164:. Alfred Music. pp. 143–144.
988:"Henze and CSO—a number of firsts"
658:Suess, John G. (20 January 2001).
14:
1443:
1377:
1077:Clements, Andrew (8 April 2015).
1045:"The Philharmonic's new horizons"
1042:Lipman, Samuel (September 1983).
863:Liang, Chang Tou (14 June 2016).
608:Freiberg, Sarah (December 2014).
539:; the recording was described in
377:, written by the German composer
195:. He was the son of the composer
1018:"Henze: II Vitalino raddoppiato"
894:Maxham, Robert (November 2008).
239:Die hohe Schule des Violinspiels
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785:Rivista Italiana di Musicologia
423:. The Italian-American cellist
249:, and more dramatic changes in
919:Hume, Paul (3 February 1972).
865:"Hat-trick for classical trio"
831:
738:
713:
688:
634:
572:List of 18th-century chaconnes
1:
577:
166:
237:in the second volume of his
7:
1015:Rickards, Guy (July 2015).
779:Barblan, Guglielmo (1966).
642:"Chaconnes – Mus. 2037-R-1"
565:
183:Composition and publication
10:
1448:
1276:Walden, Joshua S. (2014).
722:Oxford Dictionary of Music
516:'s 1917 American debut at
271:Neue Zeitschrift für Musik
843:Austrian National Library
805:Greich, Wolfgang (1970).
373:is a work for violin and
268:published an analysis in
71:
60:
50:
38:
30:
25:
1344:(6): 388. December 1917.
745:Tuttle, Raymond (2020).
443:
197:Giovanni Battista Vitali
1427:Compositions in G minor
1422:Compositions for violin
1213:Walker, Thomas (1968).
672:Oxford University Press
387:Il Vitalino raddoppiato
371:Il Vitalino raddoppiato
327:Il Vitalino raddoppiato
137:Il Vitalino raddoppiato
1160:Stein, Alfred (1999).
953:Gimbel, Allen (2015).
498:
338:Breitkopf & Härtel
329:
230:
1304:Sarlo, Dario (2016).
962:American Record Guide
494:
321:
290:Johann Sebastian Bach
221:Johann Georg Weinhold
214:
189:Tomaso Antonio Vitali
105:Tomaso Antonio Vitali
33:Tomaso Antonio Vitali
1417:Baroque compositions
1395:: 1950 recording by
490:Notable performances
383:theme and variations
1393:Chaconne in G minor
1384:Chaconne in G minor
928:The Washington Post
89:Chaconne in G minor
26:Chaconne in G minor
1138:. 10 December 1950
1135:The New York Times
813:Die Musikforschung
667:Grove Music Online
437:The New York Times
330:
325:, the composer of
314:Other arrangements
303:Die Musikforschung
294:Partita in D minor
231:
1401:Richard Ellsasser
1315:978-1-317-02164-3
1287:978-0-19-933466-7
1171:978-1-4574-0094-0
1051:The New Criterion
870:The Straits Times
731:978-0-19-174451-8
706:978-1-135-95018-7
681:978-1-56159-263-0
537:Richard Ellsasser
507:, 28 October 1917
414:Friedrich Hermann
379:Hans Werner Henze
375:chamber orchestra
365:Ottorino Respighi
361:Zino Francescatti
323:Hans Werner Henze
215:1846 portrait of
133:Hans Werner Henze
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1196:. Retrieved
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1112:27 September
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261:in 1978.
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