who composed toccata and fugue in d minor
Johann Sebastian Bach
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name and date refer to an entry in the Sources section below: Unless otherwise indicated all weblinks in numbered footnotes checked and accessed 09:13, 6 April 2016 (UTC). Sheet music Recordings Mixed media (sheet music and recordings) Toccata and Fugue in D minor, BWV 565 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. The piece opens with a toccata section, followed by a fugue that ends in a coda. It is one of the most famous works in the organ repertoire. Scholars
Toccata and Fugue in D minor, BWV 565
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Toccata and Fugue in D minor, BWV 565 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. The piece opens with a toccata section, followed by a fugue that ends in a coda. It is one of the most famous works in the organ repertoire. Scholars differ as to when it was composed. It could have been as early as 1704 (when the presumed composer was still in his teens), which would be one explanation for the unusual features; alternatively a date as
Toccata and Fugue in D minor, BWV 565
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Toccata and Fugue in D minor, BWV 538 The Toccata and Fugue in D minor, BWV 538, is an organ piece by Johann Sebastian Bach. Like the better-known BWV 565, BWV 538 also bears the title "Toccata and Fugue in D Minor", although it is often referred to by the nickname Dorian – a reference to the fact that the piece is written without a key signature – a notation that is uncommon today and leads one to assume the Dorian mode. However, the two pieces are quite different musically. Like the Fantasia and Fugue in C minor, BWV 562,
Toccata and Fugue in D minor, BWV 538
2015830
name and date refer to an entry in the Sources section below: Unless otherwise indicated all weblinks in numbered footnotes checked and accessed 09:13, 6 April 2016 (UTC). Sheet music Recordings Mixed media (sheet music and recordings) Toccata and Fugue in D minor, BWV 565 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. The piece opens with a toccata section, followed by a fugue that ends in a coda. It is one of the most famous works in the organ repertoire. Scholars
Toccata and Fugue in D minor, BWV 565
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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. d. #.", which is usually seen as the key signature being D minor. However, in Ringk's manuscript the staves have no accidental at the key (which would be the usual way to write down a piece in D minor). In this sense, in Ringk's manuscript, the piece is written down in D Dorian mode. Another piece listed as Bach's was also known as Toccata and Fugue in D minor, and
Toccata and Fugue in D minor, BWV 565
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is inspired by and closely resembles the work of Johann Sebastian Bach, possibly coming from "Toccata and Fugue in D Minor". "Toccata and Fugue in D Minor" was also used as the sit-in theme for Bram Stoker's Dracula. I'm Not A Vampire "I'm Not a Vampire" is the third single from the debut album, "The Drug in Me Is You", of the band Falling in Reverse. The music video was released on October 24, 2011 which features a satirical Celebrity Rehab theme. About "I'm Not A Vampire", Loudwire said "On the track, frontman Ronnie Radke belts out an appealing chorus
I'm Not A Vampire
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German music of the 17th century, the intended registration is not specified, and performers' choices vary from simple solutions such as "organo pleno" to exceedingly complex ones, like those described by Harvey Grace. 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. Then it took about a century from its first publication as a little known organ composition by Johann Sebastian Bach to becoming one of the signature pieces of the composer. The composition's third
Toccata and Fugue in D minor, BWV 565
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of the film were "too intense." These scenes were edited out, and more acceptable scenes replaced them or extended the running time. In common with Hammer's usual practice, when shown in British cinemas in 1962, the film was paired with "Captain Clegg", another of the studio's films. The music in this movie features Johann Sebastian Bach's Toccata and Fugue in D minor, arguably the most famous piece of organ music ever composed, and one that has become commonly associated with horror films. "The Monthly Film Bulletin" wrote: "The absurd, much-filmed story crumbles—at any rate here—once the "ingénue" is reconciled to
The Phantom of the Opera (1962 film)
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by Dave Greenslade that were based on a Japanese soft scale. Tony Reeves compiled the sketches into the main theme and arranged the song. "Beware the Ides of March" borrows a theme of the fugue of "Toccata and Fugue in D minor" by Johann Sebastian Bach (Bach BWV 565). Colosseum also recorded "I Can't Live Without You", which appears on the 2004 re-release as a bonus track. Allmusic's retrospective review is laudatory, saying the album "is a powerful one, unleashing each member's instrumental prowess at one point while consolidating each talent to form an explosive outpouring of progressive jazz/rock the
Those Who Are About to Die Salute You
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études", Op. 5 (1944), which recall the dramatic organ pedal solos of the Baroque era. Pedal keyboards were developed for the clavichord and harpsichords during the Baroque era so that organists could practise the pedal parts of their organ repertoire when they had no-one available to work the bellows for a church organ or, in the wintertime, to avoid having to practice on a church organ in an unheated church. Johann Sebastian Bach owned a pedal harpsichord and his organ trio sonatas BWV 525-530, Passacaglia and Fugue in C minor BWV 582, Toccata and Fugue in D minor BWV 565,
Pedal keyboard
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not recorded by the BBC and with a short version of "Woman from Tokyo" were the only omissions from the normal set-list performed on the world tour. Although "Child in Time" was sometimes featured, it was not performed at this concert. The group's set opens with Jon Lord playing the toccata from ""Toccata and Fugue in D-minor"" by Johann Sebastian Bach. "Difficult to Cure" is an adaptation of Beethoven's ""Ode to Joy"" from the 9th Symphony and was recorded by Blackmore's Rainbow some years earlier. The version of "Lazy" on this album could not be found on the BBC tapes,
In the Absence of Pink
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for every area. As an example, The Royal Chapel's theme, "Requiem for the Gods," consists of still, ancient vocals, tolling bells, an organ, and a steady, reserved drum beat to maintain a flow. The Underground Cavern's theme, alternately, employs a deep bass and a contemporary-jazz tone with its piano and distorted drums. There are different theme songs for the Inverted Castle. Most take on a chaotic or sprawling nature. The dominant melody that plays is "Finale Toccata," which contains elements of one of Johann Sebastian Bach's most famous organ compositions, "Toccata and Fugue in D Minor". Yamane added in some
Castlevania: Symphony of the Night Original Game Soundtrack
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starring Anthony Perkins and directed by Jules Dassin. The toccata opens the piece "The Only Way" by Emerson, Lake and Palmer. Toccata and Fugue in F major, BWV 540 The Toccata and Fugue in F Major, BWV 540 is an organ work written by Johann Sebastian Bach. The toccata is thought to be written after 1714, and the fugue before 1731. It is thought by some that Bach joined together two previously separate pieces to create this work. The toccata starts with a large linear canon (imitation theme, one hand imitating the other) over a pedal point in F major.
Toccata and Fugue in F major, BWV 540
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made, often the only now remaining, of works by more notable composers. Amongst these copies in his hand are Johann Sebastian Bach's cantata "Weichet nur, betrübte Schatten, BWV 202" and the oldest copy of the famous Toccata and Fugue in D minor, BWV 565. It is possible that the copies were made from versions in Kellner's collection, who was a pupil of Bach. The copies in Kellner's collection, which were made c. 1725, are today one of the most important sources of Bach's work. Johannes Ringk Johannes Ringk, or Ringck (26 June 1717 – 24 August 1778), was a German
Johannes Ringk
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Toccata and Fugue in F major, BWV 540 The Toccata and Fugue in F Major, BWV 540 is an organ work written by Johann Sebastian Bach. The toccata is thought to be written after 1714, and the fugue before 1731. It is thought by some that Bach joined together two previously separate pieces to create this work. The toccata starts with a large linear canon (imitation theme, one hand imitating the other) over a pedal point in F major. It is then followed by a pedal solo vamping material from the canon. The canon is reiterated with some variations in
Toccata and Fugue in F major, BWV 540
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Toccata, Adagio and Fugue in C major, BWV 564 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). The piece is
Toccata, Adagio and Fugue in C major, BWV 564
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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). Toccata, Adagio and Fugue in C major, BWV 564 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,
Toccata, Adagio and Fugue in C major, BWV 564
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fugue of BWV 538 is very similar to the fugue of BWV 540. They both imply an alla breve time signature; they both use subjects with semibreves and syncopated minims, with a rhythm of constant quavers, rather than constant semi-quavers seen in most of Bach's fugues; they both use chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers. Bach worked in Weimar between 1708 and 1717, during which he composed most of his organ works including BWV 538. Toccata and Fugue in D minor, BWV 538 The Toccata and Fugue in D minor, BWV 538, is an organ piece
Toccata and Fugue in D minor, BWV 538
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recording included in James Kibbie's Bach Organ Works project. Bach's Toccata and Fugue were not performed on the organ exclusively: the title page of the first publication of the piece already indicated that performance on the piano by one or two players was possible. From 1868 to 1881 Carl Tausig's piano transcription of the Toccata and Fugue in D minor was performed four times in the Gewandhaus in Leipzig. Many more piano transcriptions of BWV 565 were published, for instance Louis Brassin's, Ferruccio Busoni's, and Max Reger's transcription for piano four hands. Tausig's version of the Toccata and Fugue in
Toccata and Fugue in D minor, BWV 565
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mentions Tausig, Busoni and Stokowki as influencing its trajectory. Basso warns against seeing too much in the composition: it may be within reach of everyone but is neither an incantation, nor ridden with symbolism and even less a sum of whatever. In his 1999 Bach-biography Klaus Eidam devotes a few pages to the Toccata and Fugue in D minor. He considers it an early work, probably composed for testing a new organ: the piece is excellent to test the technical qualities of an organ. For instance the crescendo that builds up through arpeggios, gradually building up to using hundreds of
Toccata and Fugue in D minor, BWV 565
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the form of the Toccata he saw more north German characteristics (Buxtehude's restless style) than south German (Pachelbel's simple and quiet approach). Spitta considered the fugue "particularly suited to the organ, and more especially effective in the pedal part." His description of the piece refers to long sections that surfeit the ear, "rocking passages which have no connection whatever with the chief idea" and organ recitatives alternating with "ponderous, roaring masses of chords". Spitta likened some phrases of the Toccata and Fugue in D minor to another early work, the Fugue in G minor, BWV 578. Spitta also saw a
Toccata and Fugue in D minor, BWV 565
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with the organ. Indeed, during this time period he composed many of his greatest organ works, including the Toccata and Fugue in D minor, BWV 565 and the Prelude and Fugue in E major, BWV 566. During his period in Weimar his fame as an organist grew, and he was visited by students of the organ to hear him play and to try to learn from his technique. His Fantasia and Fugue in C minor was composed in the latter part of his tenure in Weimar, but we are not sure as to in which year though; many estimates also
Fantasia and Fugue in C minor, BWV 537
2015818
his style boasts pronounced "galant" elements ... this clearly stands in strong contrast to the dramatic style of the Toccata BWV 565". A violin composition by Bach's eldest son Wilhelm Friedemann, transcribed for the organ by Ringk was named as another possibility. According to 21st century statistical analysis Wilhelm Friedemann was however even less likely as composer of the Fugue than Kellner. The same research indicated that large portions of the Fugue were consistent with the style of Johann Ludwig Krebs, however with still more than half of the Fugue more likely composed by J. S. Bach. After initially confirming
Toccata and Fugue in D minor, BWV 565
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use of modulation in the final section of the fugue. The bravura of the F-Major toccata, with its pedal solos and manual virtuosity, contrasts sharply with the rather sober opening of the Fugue. Both represent two diverse aspects of Italian influence: the motoric rhythms and sequential passagework of the Toccata, and the traditional alla breve counterpoint of the Fugue, with its chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers. These techniques are very similar to those used in the "Dorian" Toccata and Fugue in D minor, BWV 538. The toccata was used prominently in the 1962 film "Phaedra"
Toccata and Fugue in F major, BWV 540
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2 of their complete edition of Bach's organ works. In 1950 the Bach-Werke-Verzeichnis had been published: it was no longer needed to indicate the Toccata and Fugue in D minor as Peters Vol. IV, No. 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: hence it was simply BWV 565, and the other, the so-called Dorian, was BWV 538. The New Bach Edition included BWV 565 in Series IV, Volume 6 in 1964, with its critical commentary published in Volume 5 in
Toccata and Fugue in D minor, BWV 565
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opening (toccata), a fugal section (fugue), and a short free closing section. 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
Toccata and Fugue in D minor, BWV 565
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Toccata and Fugue in D minor as a work in which the composer rises to independent mastery: In Hubert Parry's 1909 Bach biography the work is qualified as "well known" and "one of the most effective of [Bach's] works in every way". He calls the Toccata "brilliantly rhapsodical", more or less follows Spitta in the description of the fugue, and is most impressed by the coda: "it would be hard to find a concluding passage more imposing or more absolutely adapted to the requirements of the instrument than this coda." Apart from seeing Buxtehude's influence, he likens the theme of
Toccata and Fugue in D minor, BWV 565
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the category of absolute music. In the 1942 theatrical release of the film by RKO the Toccata and Fugue was entirely cut, only to return in a 1946 re-release. "Fantasia" contributed significantly to the fame of the Toccata and Fugue in D minor. The 1950 film "Sunset Boulevard" used BWV 565 as a joking reference to the horror genre. The piece appears in many more films, including "20,000 Leagues Under the Sea" (1954), where it is played by Captain Nemo on the organ of the "Nautilus". BWV 565 also appeared in Fellini's 1960 "La Dolce Vita". The 1962 film adaptation
Toccata and Fugue in D minor, BWV 565
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the fugue to the theme of the fugue of Prelude and Fugue in B minor, BWV 544, which he considers a late work. Alberto Basso calls BWV 565 "famosissimo" (most famous) and "celebratissima" (most celebrated) in the 1979 first volume of his Bach biography, indicating that, somewhat unjustified when its quality is compared to other organ compositions by Bach, the popularity of these works hinges entirely on this composition. He sees it as a youth work composed before 1708, that with its underdeveloped fugue is stylistically eclectic but unified without breaking continuity. He links it to the northern school and
Toccata and Fugue in D minor, BWV 565
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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
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play to continue. "Haunted House" employed segments the Bach organ piece, "Toccata and Fugue in D minor": during the game's start (the pronounced opening of the Toccata); during the game itself (a repeated playback of part of the Toccata where the tune alternates quickly between one fixed note and others within the D Minor key); and when the game ends (the famous ending of the Fugue). "Haunted House" pinball is available as a licensed table of "The Pinball Arcade" for several platforms. The table is also one of seven Gottlieb tables recreated in "Microsoft Pinball Arcade". The demo version of
Haunted House (pinball)
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fugue is in time, unlike the prelude, which is in time. The fugue theme, like that of the prelude, is composed of arpeggiated chords and downward sequences, especially in its later half. Due to the sequential nature of the subject, the majority of the fugue is composed of sequences or cadences. The Fugue ends in one of Bach's most toccata-like, virtuosic cadenzas in the harmonic minor. Unlike most of Bach's minor-key keyboard works, it ends on a minor chord rather than a picardy third. Because of the piece's overall rhapsodic nature, many organists play this piece freely, and in a
Prelude and Fugue in A minor, BWV 543
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for a Baroque fugue. Immediately after the final subject entry, the fugue resolves to a sustained B major chord. 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. The performance time of the piece is usually around nine minutes, but shorter performance times (e.g. 8:15) and execution times of over 10:30 exist. The first section of the piece, the Toccata, takes somewhat less than a third of the total performance time. As was common practice for
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works) have similar simplisms and quirks as BWV 565. Bach's early keyboard works, especially the free ones like Preludes and Toccatas, cannot always be clearly distinguished in organ pieces and harpsichord pieces: Spitta had already remarked a similarity between a passage in BWV 565 and one in the harpsichord Prelude BWV 921, Robert Marshall compares respectively the continuation patterns and sequences of the harpsichord Toccata BWV 911, and the Fugue theme of the harpsichord Toccata BWV 914, with the same of BWV 565. In 1935 Hermann Hesse wrote a poem about the piece, "Zu einer Toccata von Bach" (On a
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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. Organists recording BWV 565 more than once include Jean Guillou, Lionel Rogg and Wolfgang Rübsam. Also musicians like Karl Richter who did not record organ performances all that often included BWV 565 in their anthologies. By the end of the century hundreds of organists had recorded BWV 565. In the 21st century several recordings of BWV 565 became available on-line, for instance a
Toccata and Fugue in D minor, BWV 565
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Williams' doubts about the authorship of BWV 565, statistical analysis left the attribution issue undecided by the second decade of the 21st century, failing to find a composer more compatible with the style of its fugue than Bach himself. In the words of , who was sympathetic towards the violin version reconstruction:No edition of the Bach Werke Verzeichnis listed BWV 565 among the spurious or doubtful works, nor does its entry on the website of the Bach Archiv Leipzig even mention such doubts. In 1961 Antony Davies remarked that the Toccata was void of counterpoint. Half a decade later BWV
Toccata and Fugue in D minor, BWV 565
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solo organ part of the opening movement of the cantata "Wir danken dir, Gott, wir danken dir", BWV 29. Bach also transcribed the Fugue movement of Sonata in G minor for solo violin, BWV 1001, as the second half of Prelude and Fugue in D minor for organ, BWV 539. Thus a new format of adaptations saw the light: the reconstruction. Reconstructions of this kind have been applied to several other works by Bach, with variable success. A reconstruction for violin was presented by Jaap Schröder and Simon Standage. The violinist Andrew Manze produced his own reconstruction, also in A
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his fame as an organist grew, and many students of the organ visited him to hear him play and to learn from his technique. The composer also wrote many of his greatest organ works during the period, including the Toccata and Fugue in D minor, BWV 565 and the Prelude and Fugue in E major, BWV 566. The "Fantasia and Fugue in C minor" was begun during this period, as a lone fantasia in the title key. The fugue was added in 1745, most likely by Bach, but possibly by one of his students or sons. This piece is one
Fantasia and Fugue in C minor, BWV 562
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the instrument, including the , the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. Christoph Wolff suggests that Bach may have studied musical material belonging to the , ("court capelle" or court orchestra), and that he copied and studied works by Johann Philipp Krieger, Christoph Graupner, Georg Philipp Telemann, Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713. In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called "Hunting Cantata", BWV 208, as a homage cantata
Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172
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to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as (a psalm setting), and the Easter chorale cantata . Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August. He initially concentrated on the organ, composing major works for the instrument, including the , the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E
Jesus nahm zu sich die Zwölfe, BWV 22
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565 was further questioned: Walter Emery advocated speculation as a viable method to approach the history of Bach's organ compositions, and Friedrich Blume saw problems with the traditional historiography of Bach's youth. Roger Bullivant thought the fugue too simple for Bach and saw characteristics that were incompatible with his style: These doubts about the authorship of BWV 565 were elaborated by Peter Williams in a 1981 article. Hypotheses proposed by Williams in that article included that BWV 565 may have been composed after 1750 and may have been based on an earlier composition for another instrument, supposedly violin. Williams added
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of the 21st century confirmed the Fugue was atypical for Bach, but failed to find a composer more likely to have composed it than Bach. David Schulenberg indicates the attribution of BWV 565 to Bach as doubtful. Richard Douglas Jones takes no position with regard to the composition's authenticity. In 2009 Reinmar Emans wrote that Claus and Wolff had diametrically opposed views on the reliability of Ringk as a copyist inspired by their respective desired outcome of the authenticity debate: Emans thinks this sort of speculation unhelpful. The other hypothesis elaborated by Williams suggests that BWV 565 may have been
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more stylistic issues to the ones already mentioned by Bullivant, among others the parallel octaves throughout the opening of the toccata, the true subdominant answers in the fugue and the primitive harmonies throughout the piece, with countersubjects in the fugue frequently moving through thirds and sixths only. All of these characteristics are either unique or extremely rare for organ music of the first half of the 18th century. In 1995 Rolf-Dietrich Claus decided against the authenticity of BWV 565 mainly based on the stylistic characteristics of the piece. He names another problem: in its first measure the composition contains a
Toccata and Fugue in D minor, BWV 565
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to the title of "Toccata, Adagio and Fugue", BWV 564, because in the Baroque era such organ pieces would most commonly be called simply "Prelude" ("Praeludium", etc.) or "Prelude and Fugue". 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. German organ schools are distinguished into north German (e.g. Dieterich Buxtehude) and south German (e.g. Johann Pachelbel). The composition has stylistic characteristics from both schools: the stylus phantasticus, and other north German characteristics are most apparent. However, the numerous recitative stretches are rarely found
Toccata and Fugue in D minor, BWV 565
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on how to perform the work so that it does not reach the ear of the listener as a "meaningless scramble". He describes the fugue as slender and simple, but only a "very sketchy example of the form". Grace refers to Pirro in his description of the piece, elaborates Pirro's "storm" analogy and like Pirro he seems convinced Bach went touring with the piece. His suggestions for the organ registration make comparisons with how the piece would be played by an orchestra. In 1948 wrote that the Toccata and Fugue was uncharacteristic for Bach, but nonetheless bore some of his
Toccata and Fugue in D minor, BWV 565
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in the works of northern composers and may have been inspired by Johann Heinrich Buttstett, a pupil of Pachelbel, whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel's D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well. At the time it was however common practice to create fugues on other composers' themes. BWV 565 exhibits a typical simplified north German structure with a free
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to these questions: what was available from that branch of the research could be explained in opposite directions. Whether the more elaborate stylistic evidence was considered conclusive or merely circumstantial likewise depended on who was trying to prove what. In 1982 David Humphreys suggested that BWV 565 may have been composed and/or arranged by Kellner, or by someone from the circle around Kellner. Despite many stylistic similarities, Kellner was outruled a quarter of a century later: "in comparison with the style of Kellner, BWV 565 more resembles the style of J. S. Bach"; "many of Kellner's keyboard pieces revealed that
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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
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rhythmic figure that appears briefly in the concluding part of the work (bar 137) reappear extensively elaborated in the keyboard Prelude in A minor, BWV 922, which he supposes to have been composed around 1710. In Reginald Lane Poole's 1882 biography the work is again merely listed. In the 1905 first version of his Bach biography Albert Schweitzer leaves BWV 565 unmentioned in the chapter on the organ works. In André Pirro's 1906 biography Bach's organ toccatas are only mentioned as a group. He considers none of them written before Bach's later Weimar years (so closer to 1717 than to
Toccata and Fugue in D minor, BWV 565
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the late 1970s the extraordinary popularity of the piece seems to have taken scholars and musicians by surprise. From Mendelssohn's prophetic words, that it was something for both the erudite and the masses, only the latter part had really worked out. But scholars were getting involved: they analysed the composition's counterpoint as substandard. They said it was stylistically too close to the galant style to be an early 18th century composition. Its presumed time of composition had been shifted around: the composition was too modern to have been composed by a young Bach, and too simplistic to have been composed
Toccata and Fugue in D minor, BWV 565
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Nikolaus Forkel's early 19th century the work is left unmentioned: Forkel probably did not even know the composition. In C. L. Hilgenfeldt's biography it is merely listed among the published works. Hilgenfeldt considers the Toccata and Fugue in F major the most accomplished of Bach's toccatas for organ. Also in Karl Hermann Bitter's 1865 Bach-biography BWV 565 only appears listed in an appendix. Philipp Spitta devoted somewhat less than a page to the work in the 1873 first volume of his Bach biography. He assumed the work was written in the first year of Bach's second Weimar period (1708–1717). In
Toccata and Fugue in D minor, BWV 565
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listed the Toccata and Fugue among the doubtful works, nor does its entry on the website of the Bach Archiv Leipzig even mention alternative views on the attribution issue. The only extant near-contemporary source for BWV 565 is an undated copy by Johannes Ringk. A broad estimate is that the manuscript was written somewhere in the period from ten years before Bach's death in 1750 to ten years after it. Ringk produced his first copy of a Bach score in 1730 when he was 12. Taking into consideration the evolution of Ringk's handwriting, one can infer that his copy of
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it is nearly monothematic. It opens with a motoric sixteenth-note motif that continues almost uninterrupted to the end of the piece, and includes unusually elaborate concertato effects. Bach even notates manual changes for the organist, an unusual practice in the day as well as in Bach's organ output. The fugue, also in D minor, is long and complex, and involves a rather archaic-sounding subject which prominently features syncopations and three upward leaps of a perfect fourth. The strict contrapuntal development is only broken in the final four bars, when a few massive chords bring the piece to a close. The
Toccata and Fugue in D minor, BWV 538
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style of the fantasy, in which both hands alternate rapidly, the expressive, tonally experimental character and the key of D minor put the work alongside the famous Toccata and Fugue in D minor, BWV 565. Both works are exceptional and therefore particularly popular compositions in Bach's keyboard music. This assessment was shared by Bach's contemporaries. The first biographer of Bach, Johann Nikolaus Forkel, wrote: "I have given much effort to find another piece of this type by Bach. But it was in vain. This fantasy is unique and has never been second to none." 19th-century interpretations of the piece are
Chromatic Fantasia and Fugue
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In Baby" is written in the key of B minor (although the song does not begin or end on the tonic chord of the key). It's mainly guitar and bass-driven, and moves at a tempo of 136 bpm. The guitar riff is based on the harmonic minor scale. The beginning of the riff shows similarities to the toccata from Bach's "Toccata and Fugue in D minor, BWV 565" and the beginning of Samuel Barber's "Adagio for Strings". One of the B-sides to the single, "Execution Commentary", was described by Bellamy as the "worst song I've ever written". The 1997 studio
Plug In Baby
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the Wender organ, which still survives, allowed Bach to experiment with unusual modulations and harmonies. Many Bach scholars believe his well-known "Toccata and Fugue in D Minor" was composed with the Arnstadt organ in mind. The annual precipitation averages 487 mm. The town hosts an annual high jump meet – "Hochsprung mit Musik" – which attracts some of the world's foremost high jumpers. Kajsa Bergqvist set a world record in Arnstadt's "Sporthalle am Jahn-sportpark" in 2006. Arnstadt Arnstadt () is a town in Ilm-Kreis, Thuringia, Germany, on the river Gera about 20 kilometres south of Erfurt, the capital of Thuringia.
Arnstadt
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The Aviator (soundtrack) The Aviator: Music from the Motion Picture the original soundtrack album of the 2004 film "The Aviator" starring Leonardo DiCaprio, Cate Blanchett and Alan Alda. The original score and songs were composed and conducted by Howard Shore and performed by Brussels Philharmonic (former Flemish Radio Orchestra). The album won the Golden Globe Award for "Best Original Score" and was nominated for a Grammy Award: "Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media". There is also use of orchestral works, such as Bach's Toccata and Fugue in D minor and Symphony No. 6 (Tchaikovsky).
The Aviator (soundtrack)
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studies, Luciano Castagna's "Serenata", etc. He performed pieces from the 16th and 17th centuries by A. Falconieri, C. Monteverdi, and R. Rontani. He also composed his own pieces. His works included two lullabies, "Melanconie" and "Partenza" and three pieces based on poems by Giovanni Pascoli,"La Poesia" , "Il Brivido" , and "La Mia Sera". Meschi loved Bach's polyphony. He spent much of his time transcribing pieces before playing them at concerts with his harp guitar. A dozen of his manuscripts have recently been found including a 1948 transcription of Bach's famous Toccata and Fugue in D minor BWV 565 for
Italo Meschi
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by anyone else but Bach. What remains is "the most famous organ work in existence", that in its rise to fame was helped by various arrangements, including bombastic piano settings, versions for full symphonic orchestra, and alternative settings for more modest solo instruments. In 1833 BWV 565 was published for the first time, in the third of three bundles of "little known" organ compositions by Bach. The edition was conceived and partly prepared by Felix Mendelssohn, who had BWV 565 in his repertoire already by 1830. In 1846 C. F. Peters published the "Toccata con Fuga" as No. 4 in
Toccata and Fugue in D minor, BWV 565
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version Felix Mendelssohn knew, use the treble clef and a separate stave for the pedal. In general, the later copies show a less excessive use of fermatas in the opening measures and are more correct in making the note values fit the measures, but that may as well be from polishing a defective source as from deriving from a cleaner earlier source. In the later copies the work is named for instance "Adagio" and "Fuga" (for the respective parts of the work), or "Toccata" for the work as a whole. The name "Toccata" is most probably a later addition, similar
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it a Fantasia, but there is little suggestion of improvisation, particularly of the main, central movement. Many recitalists refer to it in their programmes as "Piece d'Orgue", its title in all the contemporary copies; but this also seems misleading, as (as Peter Williams notes) there is little French about the music except, possibly, the use of ninths in the style of de Grigny. A more accurate title might be a Toccata, as its structure is identical to that of Bach's Toccata and Fugue in D minor, BWV 565, with a Toccata leading on to a central contrapuntal section that in
Fantasia in G major, BWV 572
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written in central Germany before Bach." The toccata starts with a pedal solo, which is followed by a chordal section with recitative breaks, a song-like section in 3/4 time, an interlude, and a fugue whose subject is heard in the pedal twice, requiring alternating feet. Sectional organ works with virtuosic use of pedal were common for north German composers, but no central or south German composers attempted such pieces before Krieger. North German influence is also apparent in the other toccata of the collection, "Toccata in D minor". Krieger's preludes are short pieces, free developments of a harmonic or a
Johann Krieger
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minor, which he has performed and recorded. In 2000 Mark Argent proposed a scordatura five-stringed cello instead. Williams endorsed violoncello piccolo or five-stringed cello as an alternative possibility in 2003. A new violin version was created by scholar Bruce Fox-Lefriche in 2004. In 2005 Eric Lewin Altschuler wrote that if the first version of BWV 565 was written for a stringed instrument the most likely candidate would have been a lute. In 1997 Bernhard Billeter proposed a harpsichord toccata original, deemed unlikely by Williams. Billeter's argument makes however authorship by Bach more likely: Bach's harpsichord toccatas (most of them early
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interested in analog synthesizers in his teenage years. His piano instructor knew of another student with these interests and introduced Marinelli to Brian Banks. Marinelli and Banks became known for performances as a synthesizer duo, including as an opener for the Los Angeles Philharmonic in 1980. Live KFAC radio broadcast classical works such as "Toccata and Fugue in D minor, BWV 565", "Fugue in G minor, "Little", BWV 578", "Beethoven Symphony No 8 in F Major", "Tchaikovsky Romeo & Juliet Fantasy Overture" and other performances as Marinelli's synthesizer group The Synners expanded their reach. Marinelli and Banks then teamed with
Anthony Marinelli
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The Violin Player The Violin Player is the first techno/pop album by classical and pop musician Vanessa-Mae, released in 1995. It is the first album Vanessa-Mae released on the EMI label. The album was produced by Mike Batt, and engineered by Gareth Cousins. Batt and Cousins programmed the synthesisers and beats for the album. "The Violin Player" features a varied blend of music – covers of some classical (J.S. Bach's "Toccata and Fugue in D minor"), remakes of old favourites (including American composer Mason Williams' "Classical Gas") and originals (seven tracks composed by British musician and songwriter Mike Batt), and
The Violin Player
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Fischinger then redid and re-painted the cels and made a color version to his satisfaction which he then called "Allegretto". According to biographer William Moritz, this became one of the most-screened and successful films of visual music's history, and one of Fischinger's most popular films. Most of Fischinger's filmmaking attempts in America suffered difficulties. According to Moritz, Fischinger composed "An Optical Poem" (1937) to Franz Liszt's Second "Hungarian Rhapsody" for MGM, but received no profits due to studio bookkeeping systems. He designed the J. S. Bach "Toccata and Fugue in D Minor" sequence for Walt Disney's "Fantasia" (1940), but quit
Oskar Fischinger
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that style. Its period of origin has been assumed to have been as early as around 1704, and as late as the 1750s. Its defining characteristics have been associated with extant compositions by Bach (BWV 531, 549a, 578, 911, 914, 922 and several of the solo violin sonatas and partitas), and by others (including Nicolaus Bruhns and Johann Heinrich Buttstett), as well as with untraceable earlier versions for other instruments and/or by other composers. It has been deemed too simplistic for it to have been written down by Bach, and too much a stroke of genius to have been composed
Toccata and Fugue in D minor, BWV 565
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1979. Dietrich Kilian, the editor of these volumes, explains in the introduction to Vol. 6 that the New Bach Edition prefers to stay close to authoritative early sources for their score presentations: for BWV 565 this means staying close to the Ringk manuscript. 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. without at the key). 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. A facsimile
Toccata and Fugue in D minor, BWV 565
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musical language, often atonal (“Christ a vaincu la mort”, the first 3 “Caprices poétiques”,…), sometimes bitonal ("Harmonies en Paradis") or even modal (the "Fugue" of the "Toccata et Fugue en Ut#"). His music, though it is very original, is also certainly inspired by the compositions of the three great "D" of the French contemporary organ music: Marcel Dupré, Maurice Duruflé and Jeanne Demessieux. Many pieces require a great virtuosity (the "Toccata en Ut#" is the best example). Among the most played works include: “Le salut messianique”, "Christ a vaincu la mort", “Rhapsodie”, and the very dreaded "Toccata et fugue en
Thierry Pallesco
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and remotely modulating soft leading chords that are written in the oldest copies as "Arpeggio", i.e. they require a spread chord. The third part is entitled "Recitative" and includes a variety of ornamented, enriched, highly expressive melodies. This part contains several enharmonic equivalents. The recitative finishes with passages that are chromatically sinking diminished seventh chords over above the pedal point on D. The theme of the fugue consists of an ascending half-step line from A to C, here from the third to the fifth of D minor to the relative major key of F major. The virtuosic and improvisational toccata
Chromatic Fantasia and Fugue
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and virtuosity from the Renaissance version, reaching heights of extravagance equivalent to the overwhelming detail seen in the architecture of the period. Often it featured rapid runs and arpeggios alternating with chordal or fugal parts. Sometimes there was a lack of regular tempo, and almost always an improvisational feel. Other Baroque composers of toccatas, in the period before Bach, include Johann Pachelbel, Michelangelo Rossi, Johann Jakob Froberger, Jan Pieterszoon Sweelinck, Alessandro Scarlatti and Dieterich Buxtehude. Bach's toccatas are among the most famous examples of the form, and his Toccata and Fugue in D minor, BWV 565 is one of the
Toccata
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Bach's "Toccata and Fugue in D minor, BWV 565"; this particular track is similar to "Toccata", a rock arrangement by the UK-based instrumentalist group Sky. "Gyruss" uses stereo sound, which according to the bonus material for "Konami Arcade Classics", was achieved by utilizing discrete audio circuits. Parker Brothers released contemporary ports for the Atari 2600, Atari 5200, Atari 8-bit family, ColecoVision, and Commodore 64. "Gyruss" was remade for the Family Computer Disk System in Japan, and later the Nintendo Entertainment System in North America, released by Konami's subsidiary Ultra Games. These versions include several major revisions. This version of the
Gyruss
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He uses the "Rollerball" name as his nickname. Bach's Toccata and Fugue in D minor is performed on organ by Simon Preston during the opening title sequence; it is heard once again at the end of film's final scene and over the first section of the end credits, bookending the film. The Adagio in G minor by Albinoni/Giazotto, and the Largo from Shostakovich's Symphony No. 5 is also used to establish tone, mood, and atmosphere for certain scenes in the film. The classical music was performed by the London Symphony Orchestra, conducted by Andre Previn, who also wrote the "Executive
Rollerball (1975 film)
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40 (Hob. XV:26) and String Quartet Op. 50, No. 4 are in F-sharp minor. Handel set the sixth of his eight harpsichord suites of 1720 in F-sharp minor. Aside from a prelude and fugue from each of the two books of "Das Wohltemperierte Klavier", Bach's only other work in F-sharp minor is the Toccata BWV 910. Mozart's only composition in this key is the second movement to his Piano Concerto No. 23 in A major. F-sharp minor F-sharp minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key
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of Trumpets" and “Andantino in D”. He also has a few published songs (1891–97). These include "A song of the bells" and "Liberty". An organ and violin duo also exists. Sir Henry J. Wood says that he was an “exceedingly gifted organist and violinist . . . . . and a tremendous worker. He taught me to play Bach’s organ preludes and fugues. His phrasing and registration of the “great G minor” and the Toccata and Fugue in D minor were masterly.” H.C.Tonking's eccentricity deprived him of many friends, yet he was kind-hearted and often refused to take a pupil’s
Henry Charles Tonking
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Marie-Claire Alain's recordings of BWV 565 were listed in equal font as the other recorded works on her 1960s album sleeves, and in the largest font by the 1980s. US record companies seemed faster in putting BWV 565 forward as Bach's best known organ piece: in 1955 E. Power Biggs recorded the Toccata 14 times played on different European organs, and Columbia issued these recordings on a single album. Hans-Joachim Schulze paints the force of the piece on a record sleeve:Here is elemental and unbounded power, in impatiently ascending and descending runs and rolling masses of chords, that only with
Toccata and Fugue in D minor, BWV 565
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C, a note organs in Bach's time rarely had, and which Bach used only very exceptionally in his organ compositions. In his book on BWV 565, which he expanded in 1998 to counter some of the criticisms it received, Claus also dismisses the prior version options suggested by Williams (toccata being an unknown genre for violin solo compositions of the time). Several essays in John Butt's Cambridge Companion on Bach treated the attribution problems of BWV 565. Other biographers and scholars left these attribution and prior version issues unmentioned, or explained the atypical characteristics of the composition by indicating it
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selling album in Britain that year. The album included Monkman's side-long rock suite "FIFO" (a piece inspired by computer information processing techniques, stands for "First In, First Out") and four classical pieces including three established chamber music pieces (played entirely straight) and the band's souped-up electric treatment of Bach's "Toccata and Fugue in D Minor". The latter was released as a single (under the name "Toccata") and reached number 5 in the national pop charts, giving the band the opportunity of performing on "Top of the Pops". Other tracks included a Williams conflation of Spanish folk tunes, a Fry-penned tuned
Sky (band)
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toccata by Bach), which contributed to its fame. Recordings of BWV 565 that have appeared on popular music charts include Sky's 1981 rock-inspired recording (#83 on "Billboard" Hot 100) and Vanessa-Mae's 1996 violin recording (#24 on the Billboard charts). In 1993, 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. 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. References consisting of a last
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to publish his concert piano transcriptions of Bach's music, which he often included in his own recitals. These included some of Bach's chorale preludes for organ, the organ Toccata and Fugue in D minor, and the Chromatic Fantasia and Fugue. These transcriptions go beyond literal reproduction of the music for piano and often involve substantial recreation, although never straying from the original rhythmic outlines, melody notes and harmony. This is in line with Busoni's own concept that the performing artist should be free to intuit and communicate his divination of the composer's intentions. Busoni adds tempo markings, articulation and phrase
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most popular being his "Fantasy and Fugue on BACH", Op. 46 and the "Toccata and Fugue" in D minor from the collection Op. 129. While a student under Hugo Riemann in Wiesbaden, Reger met the German organist, Karl Straube; they became friends and Straube premiered many of Reger's organ works, such as the Three chorale fantasias, Op. 52. Reger recorded some of his works on the Welte Philharmonic organ, including excerpt from 52 Chorale Preludes, Op. 67. Reger was particularly attracted to the fugal form and created music in almost every genre, save for opera and the symphony (he did,
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to perform, is structured as a single movement marked "Adagio - Allegro". Quintettsatz in D minor (Beethoven) The Quintettsatz in D minor, Hess 40, is an incomplete composition for string quintet with two violas by Ludwig van Beethoven. Comprising a completed prelude and an incomplete fugue, it was composed in 1817 around the same time as the Fugue for String Quintet in D major, Op. 137. From surviving manuscripts, it appears that Beethoven first started work on the quintet around 1815, with sketches of the fugue being found amongst sketches for the Ninth Symphony. It is unclear at this time
Quintettsatz in D minor (Beethoven)
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Quintettsatz in D minor (Beethoven) The Quintettsatz in D minor, Hess 40, is an incomplete composition for string quintet with two violas by Ludwig van Beethoven. Comprising a completed prelude and an incomplete fugue, it was composed in 1817 around the same time as the Fugue for String Quintet in D major, Op. 137. From surviving manuscripts, it appears that Beethoven first started work on the quintet around 1815, with sketches of the fugue being found amongst sketches for the Ninth Symphony. It is unclear at this time if Beethoven completed the work. The composition, which takes around three minutes
Quintettsatz in D minor (Beethoven)
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D minor was recorded on piano rolls several times in the first decades of the 20th century. In the mid-1920s Marie Novello recorded the Tausig piano version of BWV 565 on 78 rpm discs. Percy Grainger's 1931 recording on the piano, based on the Tausig and Busoni transcriptions, was written out as a score by Leslie Howard, and then recorded by other artists. Ignaz Friedman recorded the piano version he had published in 1944. The 1950s to the first decades of the 21st century saw half a dozen recordings of Tausig's piano version, and several dozens of Busoni's. In Johann
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sometimes is this change indicated with a change of key signature; if not, the passage in the second key will not have a matching key signature. The Toccata and Fugue in D minor, BWV 538 by Bach has no key signature, leading it to be called the "Dorian", but it is still in D minor; the Bs that occur in the piece are written with accidentals. Keys which are associated with the same key signature are called relative keys. When musical modes, such as Lydian or Dorian, are written using key signatures, they are called "transposed modes". Exceptions to common-practice-period
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was equally entitled to the "Dorian" qualification. It was that piece, BWV 538, that received the "Dorian" nickname, that qualifier being effectively used to distinguish it from BWV 565. Most score editions of BWV 565 use the D minor key signature, unlike Ringk's manuscript. Ringk's manuscript does not use a separate stave for the pedal part, which was common in the 18th century (notes to be played on the pedal were indicated by "p." being written at the start of the sequence). Printed editions of the BWV 565 organ score invariably write the pedal line on a separate stave. In
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a transcription of a lost solo violin piece. Parallel octaves and the preponderance of thirds and sixths may be explained by a transcriber's attempt to fill in harmony which, if preserved as is, would be inadequately thin on a pipe organ. 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 first movement of the Partita in E major for solo violin, BWV 1006, was converted by Bach into the
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Chopin", "Classics in the Air" (volumes 1,2,3) features classical music, like Chopin's "Grande valse brillante", Bach’s “Toccata and Fugue in D Minor”, and Pachelbel’s “Canon”, given the “Mauriat” spin. Paul Mauriat's phenomenon in Japan started in beginning of 1970s. He is only international artist who played two sold-out shows in one day at the famous arena Nippon Budokan in Tokyo. For several decades, some of Mauriat's compositions served as musical tracks for Soviet television programmes and short movies, such as the 1977 animated Polygon (film), "In the world of animals" (V mire zhivotnykh) and "Kinopanorama", among others. Mauriat retired from
Paul Mauriat
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Culprit members, guitarist Kjartan Kristoffersen and bassist Scott Earl, and drummer Ken Mary from the band Strike. They began to play out around Seattle and with the help of Rick Keefer signed a record deal with Combat Records who would finally release "In Your Face" in 1984. The song "End of the Line", whose intro is taken from the classical piece "Toccata and Fugue in D minor", was also included on the 1984 Shrapnel Records compilation "US Metal Vol. IV". TKO found a secure new fan base with the growing heavy metal audience and was part of a vibrant Seattle
TKO (band)
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Rigaudon. He had previously transcribed the full suite for piano four hands in 1919. Several other composers have since created orchestrations of those two movements which Ravel omitted, the Fugue and the Toccata. David Diamond has orchestrated the second movement Fugue, while the Hungarian pianist and conductor Zoltán Kocsis has produced his own version of both the Fugue and the Toccata. However, here, the Toccata, scored for a very large orchestra, goes far beyond the limits of Ravel's own, small orchestra, and the Fugue is set for winds only. Another instrumentation of Fugue and Toccata by pianist Michael Round was
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1833, through the efforts of Felix Mendelssohn, who also performed the piece in an acclaimed concert in 1840. 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. That popularity further increased, due for example to its inclusion in Walt Disney's "Fantasia" (in Stokowski's orchestral transcription), until this composition came to be considered the most famous work in the organ repertoire. A wide, and often conflicting, variety
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Ave Maria by Charles Gounod who added a melody line to Bach's Prelude in C major from his Well-Tempered Clavier and which can be listened to in 35 popular recordings, from Shirley Bassey, Barbra Streisand, Jessye Norman, the Kelly Family and others, including a Karaoke version to sing along to. Discussed next is the popularization of Bach's Toccata and Fugue in D minor by Walt Disney's 1940 film Fantasia, followed by the display of an original clarinet from the possession of Benny Goodman which can be viewed listening to Goodman's interpretation of the piece "Bach Goes To Town" during his
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of Ringk's manuscript was published in 2000. In the 21st century such facsimile became available on-line, as well as various downloadable files of previously printed editions. In 2010 Breitkopf & Härtel initiated a new edition of Bach's organ works, BWV 565 appearing in its fourth volume. The first major public performance was by Mendelssohn, on 6 August 1840 in Leipzig. The concert was very well received by the critics, among them Robert Schumann, who admired the work's famous opening as an example of Bach's sense of humor. Also Franz Liszt adopted the piece into his organ repertoire: he used the
Toccata and Fugue in D minor, BWV 565
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BWV 565 was written soon after his first copy of a Bach composition, which would narrow the date of his BWV 565 manuscript to between 1730 and 1735, when Ringk was around 15. At the time Ringk was a student of Bach's former student Johann Peter Kellner at Gräfenroda, and probably faithfully copied what his teacher put before him. There are some errors in the score such as note values not adding up to fill a measure correctly: such defects show a carelessness deemed typical for Kellner, who left over 60 copies of works by Bach. The title page of
Toccata and Fugue in D minor, BWV 565
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"Nouvelles Soirées de Vienne"; "Tägliche Studien", finger exercises of high value; a selection of studies from Clementi's "Gradus ad Parnassum"; a transcription of Bach's Toccata and Fugue in D minor, BWV 565; and adaptations of Weber's "Invitation to the Dance", and of six Beethoven quartets; transcriptions of Schubert's "Marche Militaire" No. 1 in D and of Wagner's "Die Meistersinger von Nürnberg", "The Ride of the Valkyries", and "Siegmund's Love Song". His arrangement of Johann Strauss II "Man lebt nur einmal!" has been recorded by Ignacy Jan Paderewski in New York. Some of these works were left incomplete by Tausig; where
Carl Tausig
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appears at the beginning of the six sequences in the Fantasia in G minor, BWV 542). The contrapuntal section fails to resolve back to its key chord, and instead leads into a coda which shows close similarities to the final line of BWV 565, Bach's Toccata and Fugue in D minor. The central movement has been arranged to wind ensemble by Richard Goldman and Robert Leist, and to an ensemble of viols. The entire piece has been arranged to piano and flute. Fantasia in G major, BWV 572 The Fantasia or Pièce d'Orgue (organ piece) in G major, BWV 572,
Fantasia in G major, BWV 572
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Center for the Performing Arts in Washington, DC. Her final faculty recital at Fisk in 1970 included the Liszt Sonata in B minor, Bach-Tausig's Toccata and Fugue in D minor, Chopin's "Barcarolle", Ravel's "Valses Nobles et Sentimentales", and John W. Work's "Appalachia" Suite. She also received critical acclaim for her performance of Beethoven's Choral Fantasy as piano soloist with the Nashville Symphony and the Fisk University Choir. In 1954, artist Aaron Douglas selected Kennedy for a series of portraits of distinguished Fisk faculty, commissioned by Fisk University. After her retirement from Fisk, Kennedy was known for her performances of her
Anne Gamble Kennedy
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was a very early composition by Bach, probably written during his stay in Arnstadt (1703–1706). By the end of the 20th century Hans Fagius wrote: The authorship debate continued in the 21st century: Wolff called it a pseudo-problem. 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. Statistical analysis conducted by Peter van Kranenburg in the second half of the first decade
Toccata and Fugue in D minor, BWV 565
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examples of the genre. From the Baroque period, J. S. Bach's "Chromatic Fantasia and Fugue", BWV 903, for harpsichord; Great Fantasia and Fugue in G minor, BWV 542, for organ; and Fantasia and Fugue in C minor, BWV 537, for organ are examples. Georg Philipp Telemann published Twelve Fantasias for Solo Flute in 1733, and Twelve Fantasias for Solo Violin and Twelve Fantasias for Viola da Gamba solo in 1735. Examples from the Classical period are Mozart's Fantasia in D minor, K. 397 for fortepiano and his Fantasia in C minor, K. 475. Franz Schubert composed the Fantasie in C
Fantasia (music)
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famous fugues are those for the harpsichord in "The Well-Tempered Clavier", which many composers and theorists look at as the greatest model of fugue. "The Well-Tempered Clavier" comprises two volumes written in different times of Bach's life, each comprising 24 prelude and fugue pairs, one for each major and minor key. Bach is also known for his organ fugues, which are usually preceded by a prelude or toccata. "The Art of Fugue", BWV 1080, is a collection of fugues (and four canons) on a single theme that is gradually transformed as the cycle progresses. Bach also wrote smaller single fugues
Fugue
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rapture as follows: " At the beginning the extensive linear construction of the two voices in canon, the proud calmness of the solos in the pedal, the piercing chord strokes, the fiery upswing of the second subject, the bold modulatory shifts, the inwardness of the three minor movements, the splendour of the end with the famous third inversion of the seventh chord, who would not be enthralled by that?" Because of the range of the pedal parts, the organ at Weißenfels, with a pedal compass of f1, may be the organ the composition was written on. The Toccata (as a
Toccata and Fugue in F major, BWV 540