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. A multi-sectional coda follows, marked Recitativo. Although only 17 bars long, it progresses through five tempo changes. The last bars are played Molto adagio, and the piece ends with a minor plagal cadence. 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 the issue was explored in a book-length study by the musicologist Rolf-Dietrich Claus. In , a statistical analysis supported the validity of the authorship question concerning the fugue of BWV Several theories concerning the authorship of the work were put forward by scholars.
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—, or even post— idioms. Another theory, first put forward by Williams in , suggests that BWV may have been a transcription of a lost solo violin piece.
This is corroborated by the fact that the subject of the fugue, and certain passages such as bars 12—15 , are evidently inspired by string music. Bach is known to have transcribed solo violin works for organ at least twice. The violinist Andrew Manze subsequently produced his own reconstruction, also in A minor, which he has performed and recorded. Another violin version was created by scholar Bruce Fox-Lefriche in , and other string instruments have been suggested for the original piece as well, e.
However, the designation of BWV as a work of doubtful attribution is not supported by the renowned Bach scholar Christoph Wolff. A lot of his other early organ work has been lost completely. Like the prelude, the toccata is an unstructured form, in which keyboard players can give free rein to their imagination. The marked freedom of the toccata is connected to the stylus phantasticus , which was popular in North Germany from the seventeenth century. So it is remarkable that both the toccata and the prelude are often paired with the fugue, which is subject to strict compositional rules.
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. Bach probably composed the Toccata and Fugue in D minor, BWV , between , but no one is sure of the exact date.
It's important to remember the BWV catalogue number as well - there are actually three pieces of organ music written by Bach with the same name! One of these Toccata and Fugue sets, BWV , is even in D minor, but it's known as the 'Dorian', which distinguishes it from Bach's more famous organ music.
Many people will be familiar with its three dramatic opening flourishes followed by the low, growling pedal note underneath a huge, fortissimo rolling chord. The work was probably inspired by Dietrich Buxtehude, musician, organist and German composer Johann Sebastian Bach greatly admired.
Nevertheless, the authorship of this work remains controversial and some musicologists attribute the toccata and fugue composer Johann Peter Kellner. One part of 29 bars, consisting of scales, arpeggios, and dissonant chords, recitative style, toccata prestissimo The fugue, 97 bars with a shaped part toccata bars the conclusion, bars , returns to the recitative style written expressly states presto — adagio — vivace — adagio molto ….
We present today a surprising interpretation of the Toccata and Fugue in D minor for violin. The toccata is a kind of prelude organists improvised before interpreting a fugue. His melodic speech is frequently interrupted by rapid passages, arpeggios, non-harmonious chords, etc..
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