Dissertation - World Federation of Music Therapy

The bass ostinato of this passacaglia is twice as long as Pachelbel’s and Bach’s
composition has a much larger scope. The melodic, canonic parts are ever changing in
timbre and character (which is emphasized in the orchestral arrangement), and there
are many contrasts in the passacaglia section alone. From a musical point of view this
ostinato is not as predictable and stable as Pachelbel’s. Even if the actual notes remain
the same, duration, rhythm, timbre and volume change a lot. The first half of the
ostinato is preserved in the fugue (as the ‘dux’ theme), and according to the principles
of a fugue it is heard in all (four) parts respectively. In the fugue version the ostinato
has a stable and more extrovert, powerful character. Taken as a whole it is a majestic
and quite overwhelming composition. – Experienced metaphorically this ostinato is a
voice-in-command. No matter what others (other parts) may say or do, it maintains its
‘dictum’; it cannot be persuaded or ‘moved’ to ‘change its mind’. This may be
experienced as a dominating, patriarchal voice (the father, the boss, even God), and it
makes the Passacaglia a genuine psychological challenge (it is the first selection of
the program “Mostly Bach”). Many brave BMGIM clients have fought against such
an antagonist, a commanding authority or a superego figure.
This level of experience is called the explorative and uncovering level 2.
The example makes it clear that an ostinato-based movement may be anything but
supportive and calming. A third and completely different type of ostinato is found in a
movement from Bach’s Mass in B minor.
J.S. BACH: Crucifixus from Mass in B minor BWV 232
This movement is based on a four-bar ostinato in e minor, which is repeated 12 times.
One of its specific characteristics is that it features a descending chromatic line with
five halftone-steps from the fundamental e to the dominant’s b. With a certain
knowledge of symbolic meaning in Bach's compositions it is possible to identify this
chromaticism as an expression of the utmost agony and its passionate mystery. The
agony is amplified by the four vocal parts, not only due to the text (“He was crucified
for us…”), but also because the music exposes a variety of extreme dissonances.
There is tremendous tension between the four parts internally, but also between the
vocal parts and the ostinato. The parts ‘cross’ one another; Bach has composed a ‘tone
painting’ of the crucifixion. No matter if the listener experiences this as pure music, as
religious litany or metaphorically, it is music of an oppressive character. Death on the
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