The name “passacaglia” comes from the Spanish words pasar (to move) and calle (street). Initially it was a short interlude between dances and songs, and the first score examples come from the beginning of the XVIIth century from Italy, when the composer G. Frescobaldi stabilized the passacaglia’s form in to a series of variations based on a figure bass. This form was adopted up until the XIXth century, and the word itself became synonymus of a theme with variations, usually with a serious character. Amongst the many composers creating this type of piece were J. S. Bach, J. Pachelbel, F. Mendelssohn, J. Brahms, M. Reger. Examples can be found in chamber, solo, symphonic and opera music, and its second bloom comes in the XXth century. On this lecture I will present some fascinating examples of its occurrence in the viola literature from its creation through to modern times; it will be a sort of cross-section through the ages and, a first of its kind, as a compilation.
Marcin Murawski (born 29 October 1974 in Poznań) studied viola at the Ignacy Jan Paderewski Music Academy in Poznan with his father, professor Andrzej Murawski, graduating with distinction in 1998. Further studies were with Claus Myrup in Aarhus, Denmark. He subsequently earned his doctorate and post-doctorate habilitation, between 2007-2013 was viola professor at the Academy of Art in Szczecin, and at present is viola professor at the Academy of Music in Poznan. His graduates are laureates of prestigious awards and prizes. He has given master classes and recitals throughout Europe and the US. His extensive discography includes numerous premiere recordings, including a six-CD set of music of Michael Kimber. Marcin Murawski plays D’Addario strings exclusively.
Murawski, has released a number of albums on the Acte Prealable classical music label, which specializes in Polish music, including the works of Johann Nepomuk Hummel and Michael Kimber.