File Name: toccata and fugue in d minor .zip
First published in through the efforts of Felix Mendelssohn, the piece quickly became popular, and is now one of the most famous works in the organ repertoire. The attribution of the piece to Bach, however, has been challenged since the s by a number of scholars. As with most Bach organ works, no autograph manuscript of BWV survives. The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner.
First published in through the efforts of Felix Mendelssohn, the piece quickly became popular, and is now one of the most famous works in the organ repertoire. The attribution of the piece to Bach, however, has been challenged since the s by a number of scholars.
As with most Bach organ works, no autograph manuscript of BWV survives. The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner. It is most probably a later addition, similar to the title of Toccata, Adagio and Fugue, BWV , because in the Baroque era such organ pieces would most commonly be called simply Prelude Praeludium, etc.
BWV exhibits a typical simplified north German structure with a free opening toccata , a fugal section fugue , and a short free closing section.
The connection to the north German organ school was noted early by Bach biographer Philipp Spitta in 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.
The edition was conceived and partly prepared by Felix Mendelssohn, who had BWV in his repertoire already by The concert was very well received by the critics, among them Robert Schumann. Another popular transcription was completed in by Ferruccio Busoni. In the 20th century the work was generally viewed very differently, as a bold and dramatic piece.
Here is elemental and unbounded power, in impatiently ascending and descending runs and rolling masses of chords, that only with difficulty abates sufficiently to give place to the logic and balance of the fugue. With the reprise of the initial Toccata, the dramatic idea reaches its culmination amidst flying scales and with an ending of great sonority.
The Toccata begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the octave. It then spirals toward the bottom, where a diminished seventh chord appears which actually implies a dominant chord with a minor 9th against a tonic pedal , built one note at a time. This resolves into a D major chord:. Three short passages follow, each reiterating a short motif and doubled at the octave.
The section ends with a diminished seventh chord which resolved into the tonic, D minor, through a flourish. The second section of the Toccata is a number of loosely connected figurations and flourishes; the pedal switches to the dominant key, A minor.
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. After a brief pedal flourish, the piece ends with a D minor chord.
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. Such violinistic figures are frequently encountered in Baroque music and that of Bach, both as fugue subjects and as material in non-imitative pieces.
Unusually, the answer is in the subdominant key, rather than the traditional dominant. 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.
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. Writing about BWV in his seminal Bach biography, Johann Sebastian Bach — The Learned Musician, he does not address most of the specific problems of the piece, instead maintaining that any and all problematic passages are explained by the fact that BWV must be an early work. This popular work has been transcribed many times.
The composer and pianist Ferruccio Busoni was a leader of this movement, and wrote many piano transcriptions of Bach compositions, which often radically alter the original. Among them was a virtuosic version of the Toccata and Fugue, which tries to replicate the spirit of the original organ sound.
The wind organ medium translates readily to the concert band and wind ensemble. Such band versions include transcriptions by Donald Hunsberger Alfred Publ. He recorded it several more times in subsequent years. More than twenty thousand copies of the adaptation by former member Fred Mills have been sold to date through the Hal Leonard Publishing Corporation, and the work is recorded on several of their CDs, the most recent being Takes Flight released in In , Salvatore Sciarrino made an arrangement for solo flute, recorded by Mario Caroli.
A version for solo horn was made by Zsolt Nagy and has been performed by Frank Lloyd. The Toccata has been used in a variety of popular media ranging from film, video games, to rock music, and ringtones. In Federico Fellini featured the track in his movie La Dolce Vita, being played by a character at a church organ. The film adaptation of The Phantom of the Opera by Hammer Productions featured the piece, and since then, the movie has helped to associate the music with horror movies, Halloween, and the like in popular culture.
It appears on his album Before I Forget. This version crossed over to the Billboard Hot , charting at The rest of the album samples the score heavily.
The disney animators were given an abstract theme to create the image to the music. Skip to main content. Search for:.
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The piece opens with a toccata section, followed by a fugue that ends in a coda. Scholars differ as to when it was composed. It could have been as early as c. Alternatively, a date as late as the s has been suggested. To a large extent, the piece conforms to the characteristics deemed typical of the north German organ school of the Baroque era with divergent stylistic influences, such as south German characteristics. 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.
A great work for solo Organ by Johann Sebastian Bach. The dramatic opening has been much played in horror movies Phantom of the Opera anyone? The conductor Leopold Stokowski was famous for his orchestral transcriptions of Bach's organ music and included an orchestral arrangement of this piece on the animated film "Fantasia".
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The greatly popular Bach Toccata and Fugue in D minor - a masterwork that most instantly recognize - is here presented in the famous transcription by Salvatore Sciarrino for solo flute. Widely lauded as one of the most unique transcriptions of the Bach - and one of the most compelling - Sciarrino's idiomatic writing for flute including chords, implied harmonics, and three- and four- voice fugues is nearly unmatched in the literature. For advanced flutists - and that's not an understatement. You may also assemble your order online and pay offline using the "Offline Payment" payment method during the checkout process. In this case, once you submit your order, you will be contacted via phone or email for payment details before your order is processed. For offline orders we accept personal checks, bank checks, money orders, or travelers checks, with other legal tender acceptable only per arrangement. My account Sign in Sign up.
The date of creation is debated, with the actual period speculated to be before
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