[150] The violinist Andrew Manze produced his own reconstruction, also in A minor, which he has performed and recorded. The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach (1685–1750). ", which is usually seen as the key signature being D minor. Toccata and fugue in D minor is one of the most famous and reknown works of Johann Sebastian Bach. 4 in their fourth volume of organ compositions by Bach. "On Measuring Musical Style – The Case of Some Disputed Organ Fugues in the J. S. Bach (BWV) Catalogue" Ch. Such defects show a carelessness deemed typical of Kellner, who left over 60 copies of works by Bach. [97], Before his 1906 Bach biography, André Pirro had already written a book on Bach's organ works. Elgar did not particularly like the work, nor Schweitzer's glowing comments about it. [85] In C. L. Hilgenfeldt's biography it is merely listed among the published works. A multi-sectional coda follows, marked Recitativo. Emotion is more than the technique, voice and stops used. 56–65), Toccata and fugue in D minor arranged for pianoforte solo by C. Tausig, Toccata & Fugue in D minor (Tausig transcription), No. Some felt the composition was too modern to have been composed by a young Bach,[91][100] or too simplistic to have been composed by a middle-aged Bach. 375–376, "Assessing Disputed Attributions for Organ Fugues in the J. S. Bach (BWV) Catalogue" Ch. He assumed the work was written in the first year of Bach's second Weimar period (1708–1717). Symphonic transcription published from the library of Leopold Stokowski. [156] In 1993, Salvatore Sciarrino made an arrangement for solo flute,[157] recorded by Mario Caroli. These included, but were not limited to, the following, all either unique or extremely rare for organ music of the period the toccata is allegedly from: In 1998 the issue was explored in a book-length study by the musicologist Rolf-Dietrich Claus. Bach's Toccata and Fugue in D minor is one of the most famous pieces of Baroque organ music ever written - with a particularly iconic opening. Morricone used the trumpet musical theme "La resa dei conti" ("Sixty Seconds to What?") Thickness Vocabulary to use: Description with specific examples: For Toccata and Fugue, express Awe, Glory and unbridled Joy. WaterKasai added Toccata and Fugue in D minor, BWV 565 - Bach to CLASSICAL Board WaterKasai's Virtual Piano Sheets. For example, the piece may have been created by another composer who must have been born in the beginning of the 18th century, since details of style (such as triadic harmony, spread chords, and the use of solo pedal) may indicate post–1730, or even post–1750 idioms. [113] The piece has appeared in many more films, including 20,000 Leagues Under the Sea (1954), in which it is played by Captain Nemo on the organ of the Nautilus, before the submarine's pitiless and apparently unmotivated attack on a ship. The wind organ medium translates readily to the concert band and wind ensemble. "Vom überstrapazierten Autor: Biographische Konstruktionen bei Echtheitskritik" pp. The title of the piece is given in Ringk’s manuscript as Toccata Con Fuga. In the second wave, much of Bach’s instrumental music was adapted to resources that were available in salon settings (for example solo piano, or chamber ensembles). He sees it as a youth work, composed before 1708, that with its underdeveloped fugue is stylistically eclectic but unified without breaking continuity. The edition was conceived and partly prepared by Felix Mendelssohn, who had BWV 565 in his repertoire already by 1830. "[125][126][127][128], A certain uneasiness regarding the authorship of BWV 565 had been around long before the 1980s. The last bars are played Molto adagio, and the piece ends with a minor plagal cadence. Basso warns against seeing too much in the composition. The violinist Andrew Manze subsequently produced his own reconstruction, also in A minor, which he has performed and recorded. [27], In 1995, Rolf-Dietrich Claus decided against the authenticity of BWV 565, mainly based on the stylistic characteristics of the piece. [10], The subject of the four-voice fugue is made up entirely of sixteenth notes, with an implied pedal point set against a brief melodic subject that first falls, then rises. Dieterich Buxtehude) and south German (e.g. Polyphonic 4. Choose from 37 different sets of term:bach = toccata and fugue in d minor flashcards on Quizlet. Stokowski’s first 78rpm disc of 1927 was an international best-seller which introduced the music to many record collectors. This section segues into the third and final section of the Toccata, which consists almost entirely of a passage doubled at the sixth and comprising reiterations of the same three-note figure, similar to doubled passages in the first section. The rest of the album samples the score heavily. Organ, 4 voices, polyphonic texture, picardy third, ornamentation. [27], In a 1981 article, Peter Williams reiterated the speculations, from which he saw a way out of the conundrum, already featured in his 1980 book on Bach's organ compositions:[27], The analysis of the material sources for the piece, its oldest surviving manuscripts, although insufficiently pursued according to some scholars,[131] was seen as too limited to give a conclusive answer to these questions. For BWV 565 that means staying close to the Ringk manuscript. Although technically a four-part fugue, most of the time there are only three voices, and some of the interludes are in two, or even one voice (notated as two). In that book he devoted less than a page to BWV 565, and considers it some kind of program music depicting a tempest, including flashes of lightning and rumbling thunder. [108][25] Other orchestrations of the piece were provided by Fabien Sevitzky,[109] René Leibowitz (1958),[110] Lucien Cailliet (1967)[111] and Stanisław Skrowaczewski (1968). 0 0. Bach Toccata and Fugue in D Minor played by Stephanuskerk Hasselt . The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner. [40] From 1868 to 1881, Carl Tausig's piano transcription of the Toccata and Fugue in D minor was performed four times in the Gewandhaus in Leipzig. It reached number 24 on the Billboard charts. He considers it an early work, probably composed for testing the technical qualities of a new organ. Scholars differ as to when it was composed. [2][3] According to the description provided by the Berlin State Library, where the manuscript is kept, and similar bibliographic descriptions, e.g. Although only 17 bars long, it progresses through five tempo changes. [66] By the end of the century, hundreds of organists had recorded BWV 565. [28], The authorship debate has continued in the 21st century. However, the numerous recitative stretches are rarely found in the works of northern composers and may have been inspired by Johann Heinrich Buttstett, whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. [37] In the words of Jean-Claude Zehnder, who was sympathetic towards the violin version reconstruction: "The matter still remains open, despite the scholarly discourse that began in 1981. Alternatively, a date as late as the 1750s has been suggested. In 1908, Schweitzer reworked his biography for its first German edition. The composition's third century took it from Bach's most often recorded organ piece to a composition with an unclear origin. In 1955, E. Power Biggs recorded the Toccata 14 times, played on different European organs, and Columbia issued those recordings on a single album. Stauffer, George Boyer; May, Ernest (1986). Toccata and Fugue in D minor is as mysterious as it is well known. The subject of the four-voice fugue is made up entirely of sixteenth notes, with an implied pedal point set against a brief melodic subject that first falls, then rises. Although technically a four-part fugue, most of the time there are only three voices, and some of the interludes are in two, or even one voice (notated as two). By the time Disney's Fantasia was released in 1940, the animations accompanying BWV 565 had been made semi-abstract, although Fischinger's original idea that the performance of the music start with showing Stokowski directing his orchestra was preserved. The Toccata has been used in a variety of popular media ranging from film, video games, to rock music, and ringtones. Of Mendelssohn's prophecy that it was something for both the erudite and the masses, only the latter part had been fulfilled. [141][142] Several essays in John Butt's Cambridge Companion on Bach discuss the attribution problems of BWV 565. Although only simple triadic harmony is employed throughout the fugue, there is an unexpected C minor subject entry, and furthermore, a solo pedal statement of the subject—a unique feature for a Baroque fugue. Davies, Antony (1961). [135] After initially confirming Williams's doubts about the authorship of BWV 565,[136] by the second decade of the 21st century, statistical analysis left the attribution issue undecided. [36], What remains is "the most famous organ work in existence",[37] that in its rise to fame was helped by various arrangements, including bombastic piano settings,[38] versions for full symphonic orchestra,[39] and alternative settings for more modest solo instruments. [122] The 1962 film adaptation of The Phantom of the Opera used BWV 565 in the suspense and horror sense. in the RISM catalogue, Ringk created his copy between 1740 and 1760. Get your answers by asking now. Keller sees the opening bars' unison passages as "descending like a lightning flash, the long roll of thunder of the broken chords of the full organ, and the stormy undulation of the triplets". The first publication of the piece, in the Bach Revival era, was in 1833, through the efforts of Felix Mendelssohn, who also performed the piece in an acclaimed concert in 1840. The last bars are played Molto adagio, and the piece ends with a minor plagal cadence. Counterpoint literally means note against note. Learn term:bach = toccata and fugue in d minor with free interactive flashcards. [16] Immediately after the final subject entry, the fugue resolves to a sustained B♭ major chord. [10] Statistical analysis conducted by Peter van Kranenburg, in the second half of the first decade of the 21st century, confirmed the Fugue was atypical for Bach,[136] but failed to find a composer more likely to have composed it than Bach. He considers that the notes of the piece are not too difficult to play, but that an organist performing the work is primarily challenged by interpretation. [22] Its period of origin has been assumed to have been as early as around 1704,[32] and as late as the 1750s. [100] The reworked edition of this book, in one volume, appeared in 2003, and devotes more pages to discussing the authenticity and possible prior versions of BWV 565. The work’s famous opening drew attention and praise already from Schumann, who, however, admired it as an example of Bach’s sense of humor. In Ringk's manuscript the upper stave is written down using the soprano clef (as was common in the time when the manuscript originated), where printed editions use the treble clef. [103], In 1927, Leopold Stokowski recorded his orchestration of BWV 565 with the Philadelphia Orchestra. [10] A new violin version was created by scholar Bruce Fox-Lefriche in 2004. The work was first published by Breitkopf & Härtel in late 1833 as part of a collection of Bach’s organ works. [21] It has been described as some sort of program music depicting a storm,[30] but also as abstract music, quite the opposite of program music depicting a storm. "New light on Bach" in, International Music Score Library Project, https://adp.library.ucsb.edu/index.php/matrix/detail/2000140449/4892-Toccata, Organ Works BWV 525–771: Recorded Sets of Bach's Complete (or near complete) Organ Works, Bach-Brassin: Piano Transcriptions of Bach's Works by Louis Brassin, Toccata (D moll) für Orgel von Joh. Organists recording BWV 565 more than once include Jean Guillou,[63] Lionel Rogg[64] and Wolfgang Rübsam. [67] In the 21st century, several recordings of BWV 565 became available online, such as a recording included in James Kibbie's Bach Organ Works project. Then the music begins to suggest other things to your imagination—oh, just masses of color, or cloud forms, or vague shadows, or geometrical objects floating in space." Another popular transcription was completed in 1899 by Ferruccio Busoni. BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section. The contrapuntal section fails to resolve back to its key chord, and instead leads into a coda which shows close similarities to the final line of BWV 565, Bach's Toccata and Fugue in D minor. Despite a profusion of educated guesswork, there is not much that can be said with certainty about the first century of the composition's existence other than that it survived that period in a manuscript written by Johannes Ringk. Despite Mendelssohn's opinion that it was "at the same time learned and something for the people",[23] followed by a fairly successful piano transcription in the second half of the 19th century,[24] it was not until the 20th century that it rose above the average notability of an organ piece by Bach. Williams added more stylistic problems to the ones already mentioned by Bullivant, among others the parallel octaves throughout the opening of the toccata, the true subdominant answers in the fugue, and the primitive harmonies throughout the piece, with countersubjects in the fugue frequently moving through thirds and sixths only. [46] Around the start of the First World War, Augener republished William Thomas Best's late 19th-century edition of the work in volume 2 of their complete edition of Bach's organ works. [135] The same research indicated that large portions of the Fugue were consistent with the style of Johann Ludwig Krebs, but with more than half of the Fugue more likely composed by J. S. He feels that the crescendo that develops through arpeggios, gradually building up to the use of hundreds of pipes at the same time, can show exactly at what point the wind system of the organ might become inadequate. Many parts of the composition are described as typical of Bach. Jon Lord of Deep Purple fame recorded a composition called “Bach onto this”, which is based on BWV 565. 5 pp. [31] It has been presented as an emanation of the galant style, yet too dramatic to be anything near that style. From Hilgenfeldt in 1850, to Elgar in the 1920s, to Basso in the late 1970s, the extraordinary popularity of the piece seems to have taken scholars and musicians by surprise. Bach: Für Pianoforte zum Concertvortrag bearbeitet, Bach-Grainger: Piano Transcriptions of Bach's Works by Percy Grainger Discography, Bach-Friedman: Piano Transcriptions of Bach's Works by Ignaz Friedman Discography, Bach-Tausig: Piano Transcriptions of Bach's Works by Carl Tausig – Discography, Bach-Busoni: Piano Transcriptions of Bach's Works & Works inspired by Bach, by Ferruccio Busoni – Recordings, Part 2, Bach-Leonardi: Orchestral Arrangements/Transcriptions of Bach's Works by Leonidas Leonardi, Ormandy Conducts Bach Orchestral Transcriptions – PASC211, Bach-Sevitzky: Arrangements/Transcriptions of Bach's Works by Fabien Sevitzky, J. S. Bach: Toccata and Fugue in D Minor orchestrated by René Leibowitz, Bach-Cailliet: Arrangements/Transcriptions of Bach's Works by Lucien Cailliet, concert program for 5, 6 and 9 December 1968, "Allmusic – Vanessa-Mae: Charts & Awards – Billboard Singles", Johann Sebastian Bach. [113][114][115][116], After 1936, another approach to using BWV 565 in film was under consideration. Familiarity with the piece was enhanced in the second half of the 19th century by a fairly successful piano version by Carl Tausig, but it was not until the 20th century that its popularity rose above that of other organ compositions by Bach. In 1993, Salvatore Sciarrino made an arrangement for solo flute, recorded by Mario Caroli. "The early works and the heritage of the seventeenth century" in Butt 1997, Marx, Adolf Bernhard (1795-1866), 1833 (score) (can't find this print source on OPAC-RISM catalog). [94][130] Although many commentators have invoked Bach's genius to explain the dislocated modernity in an immature composition,[28][36][95] an increasing number of scholars felt unsatisfied with such an intangible explanation. From Disney’s Fantasia to The Phantom of the Opera, the opening of this composition has provided many memorable moments. This resolves into a D major chord: Three short passages follow, each reiterating a short motif and doubled at the octave. [61], Hans-Joachim Schulze describes the force of the piece on a record sleeve:[62]. [75], Tausig's version of the work was recorded on piano rolls several times in the first decades of the 20th century. It is used for the opening credits of the 1931 film Dr. Jekyll and Mr. Hyde. Around the end of the 19th century a “second wave” Bach revival occurred (the first having been the one launched earlier in the 19th century by Felix Mendelssohn among others). 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