The Ciaconna in e by Dieterich Buxtehude is too short. The number of variations in works with ostinato basses in the 17th and 18th centuries in Germany

by Reitze Smits | Het ORGEL | Year 116 | (2020) | Issue 5

Fragment van het schilderij Häusliche Musikszene uit 1674 van Johannes Voorhout (1647-1723) Naar momenteel doorgaans aangenomen wordt, is de gambist op dit schilderij Dieterich Buxtehude

One would expect that the number of variations in ciaconnas and passacaglias in the 17th and 18th centuries would be fairly regular.  Maybe that is based on all the speculative orderings that have been sought in the greatest of all passacaglias, that by Johann Sebastian Bach (1685-1750).  But the early history of this form shows great irregularity:  changing basses, changes of meter and key within a single work.  A regular division of the number of variations, without changes of the bass theme, meter, or key, appears from the second half of the 17th century in Germany.  This article discusses among other things the grouping of variations in the ostinato works of Dieterich Buxtehude.