[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. However, starting with the Toccata and Fugue and the Sorcerer's Apprentice, Stokowski, Disney and the music critic Deems Taylor chose other compositions to incorporate into their film project, known as "The Concert Piece." (-) - !N/!N/!N - 250×⇩ - Dwakretki, PDF typeset by arranger Jeremy Barham (Fall-Winter 2008). • Page visited 41,558 times • Powered by MediaWiki [70][71] Many more piano transcriptions of BWV 565 were published, for instance by Louis Brassin,[72][73] Ferruccio Busoni's,[74] Alfred Cortot's, and by Max Reger, in transcriptions for both piano two hands and four hands. Bach?" [76][77] In the mid-1920s, Marie Novello recorded the Tausig piano version of BWV 565 on 78 rpm discs. [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. "Bachs d-moll-Tokkata als Credo-Vertonung" in, Kranenburg, Peter van (4 October 2010). [10][101], J. S. Bach as Organist, a 1986 collection of essays edited by George Stauffer and Ernest May, discussed the registration Bach would have used for BWV 565. [40] The edition was conceived and partly prepared by Felix Mendelssohn, who already had BWV 565 in his repertoire by 1830. [86] In Karl Hermann Bitter's 1865 Bach-biography, BWV 565 is only listed in an appendix. 0.0/10 676: Organ Toccata & Fugue: Pianoforte Solo (Bach, Tausig), Toccata and Fugue in D minor (Stokowski transcription), Toccata and Fugue in D minor, BWV 565 (9:22), Bach: Toccata in D minor (A Hi-Fi Adventure), CD 2, No. Version 1 (3 Tracks) Toccata and Fugue in D minor. [87], In 1873, Philipp Spitta devoted somewhat less than a page to the work in the first volume of his Bach biography. [7] Bach's early keyboard works, especially the free ones like Preludes and Toccatas, cannot always be clearly separated into organ pieces and harpsichord pieces. [4][5] As far as known, Ringk produced his first copy of a Bach score in 1730 when he was 12. According to Miceli (2016), "It is [...] hard to establish what led the composer to quote Bach—perhaps the shared key of D minor led to the idea of the organ, whereas the small church might have at most accommodated nothing more than a run-down harmonium. 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. 0.0/10 Unusually, the answer is in the subdominant key, rather than the traditional dominant. (-) - V/V/V - 18884×⇩ - Kryalot, PDF scanned by Unknown 2 [150] The violinist Andrew Manze produced his own reconstruction, also in A minor, which he has performed and recorded. In this sense, in Ringk's manuscript, the piece is written down in D Dorian mode. [55] Schweitzer's first recording of the piece was issued in 1935. 375–376, "Assessing Disputed Attributions for Organ Fugues in the J. S. Bach (BWV) Catalogue" Ch. [21], In the first century of its existence the entire reception history of the Toccata and Fugue in D minor consists of being saved from oblivion by maybe not more than a single manuscript copy. 4 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. [145] Richard Douglas Jones takes no position with regard to the composition's authenticity. [41] In 1846, C. F. Peters published the Toccata con Fuga as No. Until proof of the contrary, BWV 565 should be considered as a work by Johann Sebastian Bach. 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. [123] Shortened to two minutes in length, BWV 565 was used as the introductory theme for the French animation Once Upon a Time... Man, in 26 episodes between 1978 and 1981. Symphonic transcription published from the library of Leopold Stokowski. 4", as "BGA Volume XV p. 267", as "Novello VI, 1", or without "Dorian", to distinguish it from the Toccata and Fugue with the same key signature. Other commentators ignored the doubts over its authenticity, or considered the attribution issue undecided. In early Archiv Produktion releases, the list on the sleeve contained the organ compositions in the order they appeared on the recording without distinction,[57] in the 1960s BWV 565 became listed first;[58] but by the 1980s, the font size of BWV 565 was larger than that of the other compositions,[59] and in the 1990s Walcha's 1963 recording of the piece became the only piece by Bach included in DG's Classic Mania CD set with popular tunes by various classical composers. In 1955, E. Power Biggs recorded the Toccata 14 times, played on different European organs, and Columbia issued those recordings on a single album. [94], In his 1999 Bach biography, Klaus Eidam devotes a few pages to the Toccata and Fugue. He describes the fugue as slender and simple, but only a "very sketchy example of the form". 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. "Bach's Free Organ Works and the 'stylus Phantasticus'" pp. [99] His description of the piece echoes earlier storm analogies. 7 pp. 0.0/10 [153], In 1997, Bernhard Billeter proposed a harpsichord toccata original,[7] which was deemed unlikely by Williams. 6 [15], BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section. 2 *#106360 - 1.05MB, 17 pp. [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. 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." 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. "Statistik der Concerte im Saale des Gewandhauses zu Leipzig", Stauffer, George B. 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. [84], In Johann Nikolaus Forkel's early 19th century biography of Bach, the work is left unmentioned. The piece was originally composed for violin, not necessarily by Bach (that would explain its "simplicity"); It was later transcribed for the organ, not necessarily by Bach (that would explain its "modernity"). [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. Sebastian Bach auf das Pianoforte übertragen (BV B 29), Toccata in D moll = D minor = ré mineur (Toccata e fuga), Volume II: Preludes, Fugues, Fantasia and Toccatas, Organ Works 6: Preludes, Toccatas, Fantasias and Fugues II – Early Versions and Variants of I and II, Vol. 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.