Fantasia contributed significantly to the popularity of the Toccata and Fugue. La Toccata et fugue en ré mineur, BWV 565, est une œuvre pour orgue écrite par Jean-Sébastien Bach entre 1703 et 1707. However, more modern conventions were maintained with regard to using the treble clef in the upper stave and using a separate stave for the pedal. or Prelude and Fugue. [22], The first major public performance was by Mendelssohn, on 6 August 1840, in Leipzig. In 1955, E. Power Biggs recorded the Toccata 14 times, played on different European organs, and Columbia issued those recordings on a single album. [95], Christoph Wolff, in his 2000 Bach biography, sees BWV 565 as an early work. [10][15], A multi-sectional coda follows, marked Recitativo. [144] Williams suggested that 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. Although only 17 bars long, it progresses through five tempo changes. In the 1942 cinema release of the film by RKO, the Toccata and Fugue was cut entirely, only to return in a 1946 re-release. [14] It has been called "entirely a thing of virtuosity"[30] yet also described as being "not so difficult as it sounds". [2][8], The title page of Ringk's manuscript writes the title of the work in Italian as Toccata con Fuga, names Johann Sebastian Bach as the composer of the piece, and indicates its tonality as "ex. [21], In 1948, Hermann Keller wrote that the Toccata and Fugue was uncharacteristic for Bach, but nonetheless bore some of his distinguishing marks. Forkel probably did not even know of the composition. The Toccata and Fugue in D minor, BWV 565, is a piece of organ music attributed to Johann Sebastian Bach. [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. [131] He named another problem − in its first measure the composition contains a C♯, a note organs in Bach's time rarely had, and which Bach almost never used in his organ compositions. [132] Likewise, whether the more elaborate stylistic evidence was considered conclusive or merely circumstantial, depended on who was trying to prove what. Another piece listed as Bach's was also known as Toccata and Fugue in D minor, and was equally entitled to the "Dorian" qualification. Later in 1937, while in California, Stokowski and Disney discussed the idea of making a short animated film of The Sorcerer's Apprentice by Dukas for Disney Studios, the intention being to introduce classical music to a younger and broader audience. [102], Around the same time as Grace made comparisons with an orchestral version in his performance suggestions, Edward Elgar was producing orchestrations of two organ pieces by Bach, which did not include BWV 565. He gives tips on how to perform the work so that it does not sound like a "meaningless scramble". Du fait de l'ancienneté de l'œuvre, il subsiste de nombreuses inconnues sur les conditions de sa composition. No edition of the Bach-Werke-Verzeichnis listed the Toccata and Fugue among the composer's doubtful works, nor does its entry on the website of the Bach Archiv Leipzig even mention alternative views on the attribution issue. In the mid-1990s, Fred Mills, then trumpet player for Canadian Brass, created an adaptation for brass quintet that became a worldwide standard for brass ensembles.[160][161]. [10], The performance time of the piece is usually around nine minutes, but shorter performance times (e.g. 596–603, "Albert Schweitzer als Organist", pp. [47], After 1950, when the Bach-Werke-Verzeichnis was published, it was no longer needed to indicate the Toccata and Fugue in D minor as "Peters Vol. He links it to the northern school, and mentions Tausig, Busoni and Stokowki as influencing its trajectory. Consequently, the name of the piece was again given in Italian as Toccata con Fuga, and the piece was again written down in D Dorian (i.e. Its first uses in sound film included the 1931 film Dr. Jekyll and Mr. Hyde and the 1934 film The Black Cat. In any case, for a classically trained musician such a glaring reference to one of the most hackneyed commonplaces of Western art music—certainly the most hackneyed within Bach's output (although its authorship has long been disputed)—clashes with the alleged intention of paying homage to the Eisenach maestro." [21][100][129][130] They said it was stylistically too close to the galant style of the later 18th century to be an early 18th century composition. Hilgenfeldt considers the Toccata and Fugue in F major the most accomplished of Bach's toccatas for organ. [33][34], In 1935 Hermann Hesse wrote a poem about the piece, "Zu einer Toccata von Bach" (On a toccata by Bach), which contributed to its fame. 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. 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. [42] In 1867, the Bach Gesellschaft included it in Band 15 of its complete edition of Bach's works. However, that was about to change. However, in Ringk's manuscript the staves have no ♭ symbol at the key (which would be the usual way to write down a piece in D minor). "[22] No edition of the Bach Werke Verzeichnis has listed BWV 565 among the works seen as spurious or doubtful,[137] nor does the work's entry on the website of the Bach Archiv Leipzig mention any doubts. If mentioned, it is listed or described along with other organ compositions, but is far from being considered the best or the most famous of Bach's organ compositions, or even of his toccatas. The author warns against numerological over-interpretation like that of Volker Gwinner. Williams questions the authenticity of the piece, based on its various unusual features, and elaborates the idea that the piece may have a violin version ancestor. [96] In his view, it is "as refreshingly imaginative, varied, and ebullient as it is structurally undisciplined and unmastered". 5 pp. Dans sa composition, la toccata de Bach utilise fortement le stylus phantasticus[2],[3]. #. Many parts of the composition are described as typical of Bach. 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). Symphonic transcription published from the library of Leopold Stokowski. Thickness Vocabulary to use: Description with specific examples: His suggestions for the organ registration make comparisons with how the piece would be played by an orchestra. 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." [11] Ringk's copy abounds in Italian tempo markings, fermatas (a characteristic feature of Ringk's copies) and staccato dots, all very unusual features for pre–1740 German music. [22][154], Recordings of BWV 565 that have appeared on popular music charts include Sky's 1980 rock-inspired recording (#83 on Billboard Hot 100, #5 on UK Singles Chart)[155] and Vanessa-Mae's 1996 violin recording (#24 on the Billboard charts). 71–89 in. [57] In that, and subsequent releases of Walcha's recordings of BWV 565 on Deutsche Grammophon (DG), there is an obvious evolution of the work from "one among many" organ compositions by Bach to a definite signature piece by the composer. [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.
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