Toccata, Adagio, and Fugue in C major (BWV 564) is an organ composition by Johann Sebastian Bach. As is the case with most other organ works by Bach, the autograph score does not survive. The earliest manuscript copies were probably made in 1719–1727. The title of the piece in these copies is given, as expected of organ literature of the time, simply as Toccata in C major (or more precisely, Toccata ped: ex C in one source and Toccata ex C♮ pedaliter, referring to the obbligato pedal part).[1] The piece is an early work, probably composed in the mid-to-late Weimar years, i.e. 1710–1717. It shares some similarities with other toccatas composed around the same time, such as BWV 538, BWV 540, and others: all show the influence of concerto style and form.[2]
The opening of the BWV 564 Toccata, in the hand of Johann Peter Kellner - showcasing the elaborate manual passage-work, and most of the virtuoso pedal solo
The work begins with an updated and extended form of the old prelude-type, manual passaggio followed by a pedal solo, and a motivic-contrapuntal section. Bach's extended passaggio which opens BWV 564 may have been inspired by Buttstett's preludes; both the rhetorical rests followed by returns to the tonic and the single pedal notes are part of the older tradition as well.[3] The following pedal solo, however, is unique in organ literature: it is the longest known pedal introduction,[4] reaching far beyond the scope of Bach's models (Buxtehude, Böhm, and others) or his own earlier works (e.g. the pedal solo in BWV 549). The full-voiced section that follows elaborates on motives first introduced in the pedal solo. Various scholars have noted how the construction of this first movement is reminiscent of that of a concerto, if the opening manual and pedal passages are taken as "solos" and the closing contrapuntal section as a "tutti".[2]
Adagioedit
The second movement is again in two sections, one marked Adagio and another marked Grave. The insertion of a middle slow movement in an organ work was unusual for Bach, although traces of this idea can be found in other works from the same period: for example, a surviving early version of Prelude and Fugue in C Major, BWV 545, contains a slow Trio, which was removed from the final version, but found its way into one of the late organ trio sonatas, BWV 529.[5] The Adagio is a melody made of short phrases, characteristic of early Bach, over what may be seen as a realized continuo part. The music has been compared to Giuseppe Torelli's Concerto in C major Op. 8 No. 1, but in Bach's oeuvre, this Adagio stands alone and has no parallels. The abundance of Neapolitan sixths and quasi-pizzicato pedal suggests Italian influence.[6] The Adagio flows seamlessly into the short Grave section, which, through italiante durezze chromatic progressions, enlarged with several instances of diminished seventh chords suspended over the next chord, leads back to the tonic.[7]
The Adagio, in the hand of J.P. Kellner. Modern manuscripts separate the right-hand melody, left-hand accompaniment, and pedal bass-line into three separate staves
Fugueedit
The third movement is a four-voice fugue in 6/8. It includes a countersubject typical of permutation fugues, which, unusually, engages in dialogue with the subject. Several features of the fugue suggest that it represented a considerable advance for Bach, especially considering that there are middle entries as far as the mediant and the dominant of the dominant.[8] Somewhat unusually for Bach, the fugue includes very few episodes, the longest being the coda of the piece, which is based on various style brisé figures.
The fugue subject
Influence and Transcriptionsedit
BWV 564 influenced a number of composers both during Bach's lifetime and after his death. Bach's pupil Johann Ludwig Krebs imitated the work in his Prelude and Fugue in C major (leaving out, however, the slow movement), while in the 20th century, Ferruccio Busoni published a transcription of BWV 564 for the piano (1900; one of many Bach transcriptions by the same author), and the work influenced Busoni's own Toccata for Piano (1920). The Adagio movement was transcribed for symphony orchestra by Leopold Stokowski, and was performed and recorded between 1927 and 1939 by the Philadelphia Orchestra, which he conducted.[9]
In popular cultureedit
The Adagio is played during a satanic ritual scene in the 1934 Karloff/Lugosi film The Black Cat.[10]
^Information on Stokowski's Orchestral Bach Transcriptions at www.naxos.com
^Huckvale, David (2013-09-19). The Occult Arts of Music: An Esoteric Survey from Pythagoras to Pop Culture. McFarland. ISBN9780786473243.
Referencesedit
Jones, Richard Douglas. 2007. The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit. Volume 1: 1695-1717. Oxford University Press. ISBN0-19-816440-8
Free download of BWV 564 recorded by James Kibbie on the 1724–30 Trost organ in the Stadtkirche, Waltershausen, Germany
Recording of Toccata, Adagio and Fugue in C major by french-armenian organist Nariné Simonian on a Mulheisen organ in Paris, at the Billettes Church in January 2010]
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Toccata Adagio and Fugue in C major BWV 564 is an organ composition by Johann Sebastian Bach As is the case with most other organ works by Bach the autograph score does not survive The earliest manuscript copies were probably made in 1719 1727 The title of the piece in these copies is given as expected of organ literature of the time simply as Toccata in C major or more precisely Toccata ped ex C in one source and Toccata ex C pedaliter referring to the obbligato pedal part 1 The piece is an early work probably composed in the mid to late Weimar years i e 1710 1717 It shares some similarities with other toccatas composed around the same time such as BWV 538 BWV 540 and others all show the influence of concerto style and form 2 The opening of the BWV 564 Toccata in the hand of Johann Peter Kellner showcasing the elaborate manual passage work and most of the virtuoso pedal soloToccata Adagio and Fugue in C BWV 564 source source U S Marine Band plays this piece in its entirety Toccata part of BWV 564 source source Kerstin Wolf Playing Toccata part of BWV 564 2013Adagio part of BWV 564 source source Kerstin Wolf Playing Adagio part of BWV 564 2013Fuge part of BWV 564 source source Kerstin Wolf Playing Fuge part of BWV 564 2013 Problems playing these files See media help Contents 1 Composition 1 1 Toccata 1 2 Adagio 1 3 Fugue 2 Influence and Transcriptions 3 In popular culture 4 Notes 5 References 6 External linksComposition editToccata edit The work begins with an updated and extended form of the old prelude type manual passaggio followed by a pedal solo and a motivic contrapuntal section Bach s extended passaggio which opens BWV 564 may have been inspired by Buttstett s preludes both the rhetorical rests followed by returns to the tonic and the single pedal notes are part of the older tradition as well 3 The following pedal solo however is unique in organ literature it is the longest known pedal introduction 4 reaching far beyond the scope of Bach s models Buxtehude Bohm and others or his own earlier works e g the pedal solo in BWV 549 The full voiced section that follows elaborates on motives first introduced in the pedal solo Various scholars have noted how the construction of this first movement is reminiscent of that of a concerto if the opening manual and pedal passages are taken as solos and the closing contrapuntal section as a tutti 2 Adagio edit The second movement is again in two sections one marked Adagio and another marked Grave The insertion of a middle slow movement in an organ work was unusual for Bach although traces of this idea can be found in other works from the same period for example a surviving early version of Prelude and Fugue in C Major BWV 545 contains a slow Trio which was removed from the final version but found its way into one of the late organ trio sonatas BWV 529 5 The Adagio is a melody made of short phrases characteristic of early Bach over what may be seen as a realized continuo part The music has been compared to Giuseppe Torelli s Concerto in C major Op 8 No 1 but in Bach s oeuvre this Adagio stands alone and has no parallels The abundance of Neapolitan sixths and quasi pizzicato pedal suggests Italian influence 6 The Adagio flows seamlessly into the short Grave section which through italiante durezze chromatic progressions enlarged with several instances of diminished seventh chords suspended over the next chord leads back to the tonic 7 nbsp The Adagio in the hand of J P Kellner Modern manuscripts separate the right hand melody left hand accompaniment and pedal bass line into three separate stavesFugue edit The third movement is a four voice fugue in 6 8 It includes a countersubject typical of permutation fugues which unusually engages in dialogue with the subject Several features of the fugue suggest that it represented a considerable advance for Bach especially considering that there are middle entries as far as the mediant and the dominant of the dominant 8 Somewhat unusually for Bach the fugue includes very few episodes the longest being the coda of the piece which is based on various style brise figures nbsp The fugue subjectInfluence and Transcriptions editBWV 564 influenced a number of composers both during Bach s lifetime and after his death Bach s pupil Johann Ludwig Krebs imitated the work in his Prelude and Fugue in C major leaving out however the slow movement while in the 20th century Ferruccio Busoni published a transcription of BWV 564 for the piano 1900 one of many Bach transcriptions by the same author and the work influenced Busoni s own Toccata for Piano 1920 The Adagio movement was transcribed for symphony orchestra by Leopold Stokowski and was performed and recorded between 1927 and 1939 by the Philadelphia Orchestra which he conducted 9 In popular culture editThe Adagio is played during a satanic ritual scene in the 1934 Karloff Lugosi film The Black Cat 10 Notes edit Williams 2003 150 a b Jones 2007 160 Williams 2003 151 52 Williams 2003 151 Wolff Grove Williams 2003 153 Williams 2003 153 54 Williams 2003 154 Information on Stokowski s Orchestral Bach Transcriptions at www naxos com Huckvale David 2013 09 19 The Occult Arts of Music An Esoteric Survey from Pythagoras to Pop Culture McFarland ISBN 9780786473243 References editJones Richard Douglas 2007 The Creative Development of Johann Sebastian Bach Music to Delight the Spirit Volume 1 1695 1717 Oxford University Press ISBN 0 19 816440 8 Williams Peter F 2003 The Organ Music of J S Bach Cambridge University Press ISBN 0 521 81416 2External links edit nbsp Wikimedia Commons has media related to BWV 564 Toccata Adagio and Fugue in C major for organ Free sheet music from classical scores com Toccata Adagio and Fugue in C major Scores at the International Music Score Library Project Free download of BWV 564 recorded by James Kibbie on the 1724 30 Trost organ in the Stadtkirche Waltershausen Germany Recording of Toccata Adagio and Fugue in C major by french armenian organist Narine Simonian on a Mulheisen organ in Paris at the Billettes Church in January 2010 Toccata Adagio and Fugue BWV 564 description at Netherlands Bach Society Portal nbsp Classical Music Retrieved from https en wikipedia org w index php title Toccata Adagio and Fugue in C major BWV 564 amp oldid 1204963659, wikipedia, wiki, book, books, library,
