Toccata and Fugue in D minor, BWV 565 is a work for organ by Johann Sebastian Bach, one of his most popular works.
The work "Toccata and Fugue in D minor BWV 565" is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).
The work was supposedly written by Bach during his stay in Arnstadt between 1703 and 1707. In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. It is not known exactly what his duties included, but most likely this position was not related to performing activities. During his seven months of service in Weimar, his fame as a performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar. The Bach family had long-standing ties to this oldest German city.
In August, Bach took over as organist of the church. He had to work three days a week, and the salary was relatively high. In addition, the instrument was maintained in good condition and was tuned to new system, expanding the capabilities of the composer and performer. During this period, Bach created many organ works.
The peculiarity of this small polyphonic cycle is the continuity of development of the musical material (without a break between the toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.
Title page of BWV 565 in a handwritten copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close to the time of creation.
Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso musical piece for keyboard instruments (clavier, organ).
Beginning of the toccata
Fugue (Italian fuga - running, flight, fast flow) is the most developed form of polyphonic music, which has absorbed all the richness of polyphonic means. The content range of a fugue is practically unlimited, but the intellectual element predominates or is always felt in it. Fugue is distinguished by emotional fullness and at the same time restraint of expression.
This work begins with an alarming but courageous strong-willed cry. It sounds three times, descending from one octave to another, and leads to a thunderous chordal boom in the lower register. Thus, at the beginning of the toccata, a gloomily shaded, grandiose sound space is outlined.
Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.
Then powerful “swirling” virtuosic passages are heard. The contrast between fast and slow movement is reminiscent of cautious respites between fights with the violent elements. And after the freely, improvisationally constructed toccata, a fugue sounds, in which the volitional principle seems to curb elemental forces. And the last bars of the entire work are perceived as a stern and majestic victory of the unyielding human will.
INSTRUMENTAL WORKS
For organ
Preludes and fugues: C-dur, D-dur, e-moll, f-moll, g-moll, A-dur, d-moll, G-dur, a-moll, h-moll, C-dur, c- moll, C-dur, e-rnoll, c-moll, G-dur, a-moll, Es-dur.
Fantasies and fugues: g-moll, c-moll, a-moll.
Toccatas with fugues: F-dur, E-dur, d-moll (Dorian), C-dur, d-moll.
Eight small preludes and fugues: C-dur, d-moll, e-moll, F-dur, G-dur, g-moll, a-moll, B-dur.
Preludes: C major, G major, A minor.
Fugues: c-moll, c-moll, G-dur, G-dur, g-moll, h-moll (on a Corelli theme).
Fantasies: C-dur, G-dur, G-dur, h-moll, C-dur (unfinished).
Pastoral F major. Trio.
Passacaglia in C minor.
Concertos by Vivaldi (a minor, C major, d minor) and other authors. Konzertsatz C-dur.
Sonatas: Es-dur, c-moll, d-moll, e-moll, C-dur, G-dur.
Orgelbuchlein - 46 short chorale preludes.
Chorale variations: “Christ, der du bist der helle Tag (“You are all like a bright, clear day”); “O Gott, du frommer Gott” (“O you, sweetest one”); “Sei gegriisset, jesu gutig” (“I send greetings to you, my beloved one”) and others.
Canonical variations “Vom Himmel hoch, da Komm" ich her (“From the heights of heaven”).
Six chorales (“Schubler’s”).
13 chorales (the so-called “large”; the last of them is the dying one: “Vor deinen Thron tret"ich (“At the throne”).
Chorale arrangements “Preludes to the Catechism and other chants” (12 large and 9 small). Included in Part III of the Klavieriibung.
Chorale arrangements (mainly from the youth period), not included in these collections.
24 chorale arrangements (Kirnberger collection).
For harpsichord
Small preludes (parts I, II) and fugues.
15 two-voice inventions and 15 three-voice symphonies.
"Das Wohltemperierte Klavier" ("The Well-Tempered Clavier")
I part 24 preludes and fugues. Part II 24 preludes and fugues. Fantasies and fugues (fuguettes): a-moll, d-moll, c-moll, B-dur, D-dur. Chromatic fantasy and fugue in d minor. The Art of Fugue (Die Kunst der Fuge).
Separate preludes and fugues.
Toccatas: fis-moll, c-moll, D-dur, d-moll, e-moll, g-moll, G-dur.
Fantasies: g-moll, c-moll, g-moll.
Fantasia Rondo in C minor.
Preludes (fantasies) c-moll, a-moll.
Suites: 6 French suites: d-moll, c-moll, h-moll, Es-dur, G-dur, E-dur.
6 English suites: A-dur, a-moll, g-moll, F-dur, e-moll, d-moll.
Klavierubung ("Klavier School"):
Part I. Partitas: B-dur, c-moll, a-moll, D-dur, G-dur, e-moll.
Part II. Italian Concerto and Partita (French Overture) B minor.
Part III. 21 Choral Prelude (also for organ), Prelude and triple fugue Es-dur, 4 duets: e-moll, F-dur, G-dur, a-moll.
Part IV. Aria with 30 variations (“Goldberg Variations”). “Capriccio on the Departure of a Beloved Brother” B major. Capriccio E major. (in honor of J. C. Bach). Aria variata alia maniera italiana (Aria varied in Italian
manner) a-minor. Minuets: G-dur, G-moll, G-dur (from the keyboard book of Wilhelm Friedemann Bach). Sonatas. Scherzo d-moll (variant e-moll).
HARVISIOR ARRANGEMENTS OF OWN WORKS
Sonata in d minor (arrangement of the 2nd violin sonata in a minor).
Suite in E major (arrangement of the 3rd violin partita). Adagio G major (from the 3rd violin sonata).
TREATMENTS FOR THE CLAVIER OF WORKS BY OTHER AUTHORS
Sonata in a minor (from “Hortus musicus” - “The Musical Garden” by I. A. Reinken).
Sonata in C major (from the same place).
Fugue B-dur (from the same place).
Fugue B major (arrangement of fugues by Erzelius).
16 concerts by Vivaldi, Marcello, Telemann, Johann Ernest of Weimar.
ORCHESTRA WORKS
Overtures (suites).
No. 1, C major; No. 2, h-moll; No. 3, D major; No. 4, D major; No. 5, g-moll. Symphony in F major.
6 “Brandenburg” concerts: No. 1, F-dur; No. 2, F-dur; No. 3, G major;
No. 4, G major; No. 5, D major; No. 6, B major.
Concertos for harpsichord with orchestral accompaniment: No. 1, d-moll; No. 2, E-dur; No. 3, D major; No. 4, A major; No. 5, f-moll; No. 6, F-dur; N° 7, g-molL
Concertos for two harpsichords with orchestral accompaniment: No. 1, c-moll; No. 2, C major; No. 3, c-moll.
Concertos for three harpsichords with orchestral accompaniment: No. 1, d-moll; No. 2, C major.
Concertos for violin with orchestra accompaniment: No. 1, a-moll; No. 2, E-dur; No. 3, d-moll.
Concerto for two violins with orchestral accompaniment in d minor.
Triple concert for harpsichord, flute and violin with orchestral accompaniment in A-moll.
Concerto for violin and orchestra in D major (excerpt).
CHAMBER WORKS FOR STRINGS, WIND INSTRUMENTS AND ENSEMBLES
Sonatas and partitas for solo violin: g-moll, h-moll, a-moll, d-moll, C-dur,
E-dur. Suites (sonatas) for cello: G-dur, d-moll, C-dur, Es-dur, c-moll,
D major.
Sonata for two violins with numbers, bass C major. Four sonatas (“inventions”) for violin and cymbal: g-moll, G-dur, F-dur, c-moll.
Trio for two violins and cymbal, d minor. Sonatas for harpsichord and violin: H-moll, A-dur, E-dur, C-moll, F-moll, G-dur.
Suite for harpsichord and violin A major.
Sonatas for harpsichord and viola da gamba: G-dur, D-dur, g-moll. For lute (arranged for harpsichord): 3 partitas: g-moll, e-moll, c-moll. A little prelude in C minor. Prelude, Fugue and Allegro Es major. Fugue g-moll Sonatas for flute: solo - a-moll; for flute with numbers, bass: C-dur,
e-moll, E-dur.
Sonata for flute and violin with numbers, bass G-dur. Sonata for two flutes with numbers, bass G-dur. Sonatas for harpsichord and flute: H-moll, Es-dur, A-dur. "Musical Offering"
SECULAR VOCAL AND INSTRUMENTAL GENRES
“Musical dramas” (“Dramma per musica”) and cantatas:
“Glide, playfully, the waves” (“Schleicht, spielende Wellen”).
“Discord defeated by changeable strings” (“Vereinigte Zwietrachb”).
“Arise, thundering sounds!” (“Auf, schmetternde Tone!”).
“Sound, timpani, and trumpets, blow!” (“Tonet, ihr Pauken, erschallet, Trompeten!”).
“Cupid the Traitor” (“Amore traditore”). For bass.
“The Contest of Phoebus with Pan” (“Der Streit zwischen Phobus und Pan”).
“About a life of contentment” (“Von der Vergnugsamkeit”).
“Aeolus the Peaceful” (“Der zufriedengestellte Aeolus”).
“The Choice of Hercules” (“Die Wahl des Herkules”).
“We have a new boss” (“Meg hahn en neue Oberkeet”) - Peasant cantata.
“Crowded with the glory of the heavenly century” (“Mil Gnaden bekronet”).
“Not knowing the sorrows of life” (“Non sa che sia dolore”).
“Let us watch in our cares” (“Lasst uns sorgen”).
“Oh wonderful song!” (“O angenehme Melodei”).
“Oh wonderful day, desired age” (“O holder Tag, erwunschte Zeit”).
“Hail, Saxony, blessed” (“Preise dein Glticke, gesegnetes
Sachsen").
“Let the chatter be silent” (“Schweigt stille, plaudert nicht”) - Coffee cantata.
“Everything is forward in a rush” (“Schwingt freudig euch empor!”).
“Hunting alone invigorates me” (“Was mir behagt”).
“Scatter you, shadows of grief!” (“Weichet nur, betrubte Schatten”).
“Dig up the grave, destroy that crypt!” (“Zerreisset, zersprenget, zerstoret
die Gruft!").
“Most Serene Leopold” (“Durchlauchster Leopold”).
SPIRITUAL WORKS
Masses: h-moll (High Mass); F-dur, A-dur, g-moll, G-dur (short).
“Magnificat” (“Magnifies my soul”), D-dur.
“Sanctus, sanctus, sanctus” (“Holy, holy, holy”): C-dur, D-dur, d-moll,
G-dur, D-dur.
Passion according to Matthew, according to John, according to Luke, according to Mark. Oratorios: “Rozhdestvenskaya” (in 6 parts); “Easter” (“Kommt, eilet und laufet” - “Hurry, oh people!”); “On the Ascension” (cantata no. 11). Motets: “Singet dem Herrn ein neues Lied” (“ New song sing to him"), for 8 voices, B-dur. “Der Geist hilft unsrer Schwachheit auf” (“The high spirit will strengthen us”), for
8 voices, B major.
“Furchte dich nicht, ich bin bei dir” (“Don’t be afraid, I’m with you!”), for 8 voices.
"Komm, Jesu, Komm!" “Come, Jesus!”, for 8 voices. “Jesu, meine Freude” (“My joy”), for 5 voices, e-moll. “Lobet den Herrri” (“Praise the Lord”), for 4 voices, C major. Spiritual cantatas (199 in total).
185 chorales for four voices from the collection of C. F. E. Bach. Spiritual songs and arias from the “Gesangbuch Schemellis” - “Book of Songs” by G. Schemelli (21) and from the 2nd “Notebook” (Notenbuch) by Anna Magdalene Bach (10).
They are divided into instrumental and vocal. The first include: for organ - sonatas, preludes, fugues, fantasies and toccatas, chorale preludes; for piano – 15 inventions, 15 symphonies, French and English suites, “Klavierübung” in four movements (partitas, etc.), a number of toccatas and other works, as well as “The Well-Tempered Clavier” (48 preludes and fugues in all keys); “Musical Offering” (a collection of fugues on themes of Frederick the Great) and the cycle “The Art of Fugue”. In addition, Bach has sonatas and partitas for violin (among them the famous Chaconne), for flute, cello (gamba) with piano accompaniment, concertos for piano and orchestra, as well as for two or more pianos, etc., concerts and suites for strings and wind instruments, as well as a suite for the five-string viola pomposa invented by Bach ( medium instrument between viola and cello).
Portrait of Johann Sebastian Bach. Artist E. G. Haussmann, 1748
All these works are characterized by a highly skillful polyphony, not found in a similar form either before or after Bach. With amazing skill and perfection, Bach solves the most complex problems of contrapuntal technique, both in large and small forms. But it would be a mistake to deny his melodic ingenuity and expressiveness at the same time. Counterpoint was for Bach not something memorized and difficult to apply, but was his natural language and form of expression, the comprehension and understanding of which must first be acquired in order for the manifestations of deep and versatile spiritual life expressed in this form to be fully understood and so that the gigantic the mood of his organ works, as well as the melodic charm and richness of changing moods in the fugues and suites for piano, were fully appreciated. Therefore, in most of the works related here, especially in individual numbers from the “Well-Tempered Clavier,” we have, along with completeness of form, characteristic plays of extremely varied content. It is this connection that determines their special and unique position in musical literature.
Despite all this, for a long time after his death, Bach's works were known and appreciated only by a few experts, while the public almost forgot them. Per share Mendelssohn it fell, thanks to the performance in 1829 under his baton of Bach's St. Matthew Passion, to once again arouse general interest in the late composer and to win his great vocal works their due place of honor in the musical life– and not just Germany.
Johann Sebastian Bach. Best works
This includes, first of all, those intended for worship. spiritual cantatas written by Bach (for all Sundays and holidays) in the amount of five full annual cycles. Only about 226 cantatas have survived to us, quite reliable. The Gospel texts served as their text. The cantatas consist of recitatives, arias, polyphonic choruses and a chorale that concludes the entire work.
Next comes “music of passions” ( Passions), of which Bach wrote five. Of these, unfortunately, only two have reached us: Passion by John and Passion by Matthew; of these, the first was first performed in 1724, the second in 1729. The reliability of the third - the Passion according to Luke - is subject to great doubt. Musically dramatic portrayal of a story of suffering Christ in these works he achieves the highest completeness of form, the greatest musical beauty and power of expression. In a form mixed from epic, dramatic and lyrical elements, the story of the suffering of Christ passes before our eyes plastically and convincingly. The epic element appears in the person of the reciting evangelist, the dramatic element appears in the words of biblical figures, especially Jesus himself, interrupting the speech, as well as in the lively choirs of the people, the lyrical element appears in arias and choruses of a contemplative nature, and the chorale, contrasted with the whole presentation, indicates the direct relationship of the work to the divine service and hints at the community's participation in it.
Bach. St. Matthew Passion
A similar work, but of a lighter mood, is “ Christmas Oratorio"(Weihnachtsoratorium), written in 1734. It has also reached us" Easter Oratorio" Along with these large works associated with Protestant worship, the adaptations of ancient Latin church texts are at the same height and just as perfect: Masses and five-voice Magnificat. Among them, the first place is taken by large Mass in B minor(1703). Just as Bach delved with faith into the words of the Bible, here he took up with faith the ancient words of the text of the Mass and depicted them in sounds with such richness and variety of feeling, with such power of expression that even now, clothed in a strict polyphonic fabric, they deeply captivating and deeply moving. The choirs in this work are among the greatest that has ever been created in the field of church music. The demands placed on the choir here are extremely high.
(Biographies of other great musicians - see the “More on the topic...” block below the text of the article.)
Toccata and Fugue in D minor (BWV 565) is Johann Sebastian Bach's signature piece and one of the most powerful organ works ever composed.
Johann Sebastian Bach (1685-1750) - outstanding German composer, a virtuoso organist who created over 1000 works during his life.
Bach's work represents all the significant genres of that time, except opera. Bach is a famous master of polyphony, a successor of ancient traditions, in whose work polyphony reaches its peak.
Today each of famous works assigned the number BWV (abbreviated from Bach Werke Verzeichnis - catalog of works by Johann Sebastian Bach). Bach wrote music for various instruments, both sacred and secular. Some of Bach's works are adaptations of works by other composers, and some are revised versions of their own works.
Church organist
In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. During his seven months of service in Weimar, Bach's fame as a magnificent performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar.
In August 1703, Bach took over as organist of the church. He had to work three days a week, the salary was relatively high. In addition, the instrument was maintained in good condition and was tuned according to a new system that expanded the capabilities of the composer and performer. During this period, Bach created many organ works.
In 1706, Bach decides to change his job. He was offered a more lucrative and higher position as organist at the Church of St. Blaise in Mühlhausen, a large city in the north of the country. In 1707, Bach accepted this offer, taking the place of organist Johann Georg Ale. His salary was increased compared to the previous one, and the standard of the singers was better.
Toccata and Fugue in D minor (BWV 565)
Toccata and Fugue in D minor (BWV 565) is a work for organ by Johann Sebastian Bach, one of his most popular works.
The work is believed to have been written by Bach during his stay in Arnstadt between 1703 and 1707.
The peculiarity of this small polyphonic cycle is the continuity of development of the musical material (without a break between the toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.
Toccata
The toccata begins with a prominent mordent, which is repeated an octave lower. The toccata consists of episodes contrasting in tempo and texture, ending with cadences.
Beginning with allegro, the toccata ends in adagio tempo on the third degree of D minor (F), which adds incompleteness and makes it clear that this is not the finale.
Fugue
The fugue theme is written using the technique of hidden polyphony. Further imitative development of the work is based on melodic figurations. The interlude and middle movement deviate into the parallel key of F major. The reprise, returning the fugue to D minor, begins with a stretta.
The coda consists of several “improvisational” contrasting episodes (the development technique is borrowed from the toccata). The entire work ends with a plagal cadence.
Arrangements
There are many arrangements of toccata and fugue. In particular, for piano, guitar, electric guitar, button accordion, strings, jazz orchestra and other performing ensembles. A cappella arrangements are also known.
From an early age, Bach felt the organ field was his calling and tirelessly studied the art of organ improvisation, which was the basis of his compositional skills. As a child, in his native Eisenach, he listened to his uncle play the organ, and then, in Ohrdruf, his brother. In Arnstadt, Bach himself began to work as an organist, and undoubtedly, already there he tried to compose for the organ, although his choral arrangements, which confused the Arnstadt parishioners with their unusualness, have not reached us. The composer also served as an organist in Weimar, where his original organ style was fully formed. As you know, it was during the Weimar years that exceptional activity occurred in the field of Bach’s organ creativity - most of the organ works were created: Toccata and Fugue in d-moll, Toccata, adagio and fugue in C-dur, Prelude and Fugue in a-moll, Fantasia and Fugue in g-moll , Passacaglia c-moll and many others. Even when, due to circumstances, the composer switched to another job, he did not part with his portable organ. We must not forget that Bach’s oratorios, cantatas, and passions were played in the church, accompanied by an organ. It was through the organ that Bach was known to his contemporaries. He achieved the highest perfection in organ improvisations, stunning everyone who could hear him. The famous organist Jan Reincken, already in his declining years, heard Bach play and said: “I thought that this art had died long ago, but now I see that it lives in you!”
Main features of the organ style
In Bach's era, the organ was the “king of all instruments” - the most powerful, full-sounding and colorful. It sounded under the spacious vaults of church cathedrals with their spatial acoustics. Organ art was addressed to the broad masses of listeners, hence such qualities of organ music as oratorical pathos, monumentality, and concert performance. This style required extensive forms and virtuosity. Organ works are similar to monumental (fresco) painting, where everything is presented in close-up. It is not surprising that Bach created the most majestic instrumental works specifically for the organ: Passacaglia in C-moll, Toccata, adagio and fugue in C-dur, Fantasia and fugue in G-moll and others.
Traditions of German organ art. Chorale preludes.
Bach's organ art grew on rich soil, because it was German masters who played the most important role in the development of organ music. In Germany, organ art has reached an unprecedented scale, and a whole galaxy of wonderful organists has emerged. Bach had a chance to hear many of them: in Hamburg - J. Reincken, in Lubeck - D. Buxtehude, who was especially close to Bach. From his predecessors he adopted the main genres of German organ music - fugue, toccata, chorale prelude.
In Bach’s organ work, two genre varieties can be distinguished:
- chorale preludes , as predominantly small compositions;
- "small" polyphonic cycles , as works of large form. They consist of some kind of introductory piece and a fugue.
Bach wrote more than 150 chorale preludes, most of which are contained in 4 collections. A special place among them is occupied by the “Organ Book” - the earliest (1714-1716), consisting of 45 arrangements. Later, the collection “Keyboard Exercises” appeared, including 21 arrangements, some of which were designed for organ performance. The next collection - of 6 pieces - is known as the “Schubler chorales” (named after the publisher and organist Schubler, a student of Bach). The composer prepared the last collection of choral arrangements - “18 chorales” - for publication shortly before his death.
With all the diversity of Bach's chorale preludes, they are united by:
- small scale;
- dominance of the melodic beginning, since the genre of choral arrangement is associated with vocal melodies;
- chamber style. In the chorale preludes, Bach emphasized not the enormous resources of the powerful organ sound, but its colorfulness and timbre richness;
- widespread use of polyphonic techniques.
The range of images of chorale preludes is associated with the content of the underlying chorales. In general, these are examples of Bach's philosophical lyrics, reflections on man, his joys and sorrows.
Prelude in Es major
Her music has a majestically calm, enlightened character, developing smoothly and leisurely. The theme of the chorale is quite monotonous in rhythmic and melodic terms. It is based on movement along stable steps of the scale with multiple repetitions of one sound. However, Bach begins his prelude not with a chorale melody, but with his own theme - more melodious, flexible and moving, and at the same time akin to the chorale.
Developing, this theme is continuously enriched intonationally and rhythmically. Widely chanted phrases appear in it, and the range expands. Along with this, instability in it intensifies, the motif of a sigh is repeated sequentially, which becomes a means of intensifying expression.
The tonal plan of the prelude covers related flat keys. The tonal development is directed from light major colors to a darker minor color in the middle, and then to the return of the original light sound.
The sparse, clear texture of the prelude is based on two main melodic lines, far behind each other (this creates a feeling of spatial breadth). The middle voices, where the theme of the chorale is stated, are included later and also have melodic independence.
Prelude in f minor
(“I call upon you, Lord”)
In this prelude, the melody of the chorale is placed in the upper voice; it dominates, determining the entire appearance of the work. Bach is responsible for harmonizing the melody and creating the texture of the accompaniment.
The theme of the chorale is songlike, based on smooth soft intonations. Rhythmic monotony, emphasized by the smooth movement of the bass, gives the music rigor and composure. The main mood is deep concentration, sublime sadness.
The texture clearly distinguishes three levels: the upper voice (the theme of the chorale itself, the sound of which in the middle register resembles singing), the bass line and the middle voice - intonationally very expressive and rhythmically mobile. 2-part form. The first section is clearly divided into sentences and ends with a clear cadence. The second develops more continuously.
Two-part polyphonic cycles
Two-part compositions, consisting of some kind of introductory piece (prelude, fantasy, toccata) and fugue, were already found among composers of the pre-Bakhov generation, but then they were the exception rather than the rule, a pattern. Either independent, unrelated fugues, toccatas, fantasies, or one-part compositions predominated mixed type. They freely combined prelude-improvisation and fugue episodes. Bach broke this tradition by distinguishing contrasting spheres in two individual, but organically interconnected parts of the polyphonic cycle. The first part concentrated a free, improvisational element, while the second - a fugue - was strictly organized. Musical development in a fugue always obeys the laws of logic and discipline and proceeds in a strictly defined “channel”. Well-thought-out system compositional techniques The fugue had already taken shape before Bach, in the work of his predecessors - German organists.
The introductory parts of the polyphonic cycle did not have such a “assignment”. They were developed in the practice of free foreplay on the organ, that is, they differed improvisational nature - complete freedom in expressing emotions. They are characterized by:
- “general forms” of movement - virtuosic passages, harmonic figurations, that is, movement according to the sounds of chords;
- sequential development of small melodic cells;
- free change of pace, episodes of different nature;
- bright dynamic contrasts.
Each polyphonic cycle by Bach has its own unique appearance and individual artistic solution. The general and mandatory principle is harmonious unity of its two constituent parts. This unity is not limited to the general tonality. So, for example, in the most popular Bach organ cycle - Toccata and Fugue d-moll- the unity of the composition follows from the multilateral internal connections of the toccata and fugue.
The music of the toccata gives the impression of powerful strength and rebellion. The majestic pathos captivates from the very first sounds introductions- small, but very effective, setting the tone for everything that follows. The opening theme begins, as it were, immediately with the culmination (“top-source”), on ff, in a powerful organ unison. It is based on declamatory, oratorical, appealing intonations, which, thanks to strong sonority and meaningful pauses, sound very impressive.
The same intonations underlie fugue themes- descent along the scale of a minor mode from the V degree to the leading tone. Thanks to the non-stop ostinato running of 16th notes, fugue music has an active, energetic, motor character. Its theme also has a clear similarity with the second section of the toccata - the presence of hidden two-voices, repeated repetition of the sound “A”, and the same rhythmic pattern. Essentially, both themes are perceived as two variants of the same thematic material (the theme of the fugue is a mirror image of the 2nd section of the toccata).
In more close-up the unity of toccata and fugue lies in the very cycle compositions. The culmination of the entire work is the final section of the fugue - a large coda of a pathetic nature. Here the images of the toccata return, and polyphonic techniques give way to homophonic-harmonic ones. Massive chords and virtuosic passages sound again. Thus, in the cycle there is a feeling of tripartiteness (toccata - fugue - toccata coda).
In addition, the d minor fugue has another feature that emphasizes its relationship with the toccata - the abundance of interludes. Interludes mainly consist of “broken” chords and their sequential development. Thanks to this, the polyphonic style of the fugue somewhat approaches the homophonic-harmonic style, echoing the improvisational style of the toccata.
The combination of two parts of a polyphonic cycle may not be based on kinship, but, on the contrary, on a bright contrasting comparison of their musical images. This is how, for example, the g-moll organ cycle is built.
Fantasia and fugue g-moll
Music fantasy its origins are associated with harsh and majestic images choral works Bach - his B minor Mass or Passions. It compares two contrasting emotional spheres. The first is tragic. The combination of powerful chords with a single-voice recitative in a tense tessitura is similar to the alternation of a choir with a solo voice. Musical development takes place in an atmosphere of increasing tension. Thanks to the organ section, sharply unstable, dissonant chords arise, and recitative phrases gradually become more and more saturated with drama.
The second theme is the opposite of the first in all its components. Against the backdrop of measuredly calm moves of the lower voice, the upper voices imitate a small lyrical chant based on a diminished triad. Minor modes, the softness of the sound gives the music a touch of sublime detachment. It ends thoughtfully and sadly with a descending second intonation.
Almost the entire further continuation of the fantasy is occupied by the complex development of the first theme. The drama of the overall sound is aggravated by a brief reprise of the second theme, raised to a higher register.
The tragedy of fantasy is opposed by energy and activity fugues. It is distinguished by its dance character and obvious connections with everyday secular music. The closeness to the folk genre origins is manifested, in particular, in the reprise structure of the theme, its completeness, and the periodicity of rhythmic accents. The theme highlights wide, “brisk” leaps of fifths and octave, which, in combination with a springy, elastic rhythm, create a very dynamic image. The energy of movement is also supported by modal tonal development: the tonic and dominant of the main key are compared with the tonic and dominant of the parallel major.
The fugue form is based on a reprise tripartite. The first part consists of exposition and counter-exposition, followed by a large middle development part and an abbreviated reprise. Each theme is preceded by extensive interludes.
A huge internal contrast also distinguishes the organ cycle in C major, the composition of which is expanded by including another, 3rd, movement.
Toccata, adagio and fugue in C major
The line of figurative development is directed here from the majestic pathos of the toccata to the sublime lyricism of Adagio, then to the powerful Grave (the final section of Adagio) and, finally, to the dance dynamics of the fugue.
Basic principle of construction toccatas- improvisation. It consists of several relatively complete sections, which differ from each other in the type of melodic movement (these are either virtuoso passages, or sequential development of small melodic turns, or chord figuration - movement along the sounds of chords). At the same time, there is a clear unifying logic in the toccata: a steady increase from beginning to end - the final majestic peak. It is achieved by a gradual increase in overall sonority, thickening the texture (due to the branching of voices, their roll calls in different registers). On last stage This movement activates the lowest sounds of the organ - the organ pedal.
IN Adagio everything is in contrast to the toccata: minor key (parallel A-moll), intimate sounding - in the spirit of choral preludes, the same type of texture throughout (leading voice and accompaniment), homogeneous thematic, lack of virtuosic brilliance, bright climaxes. Throughout the Adagio, a mood of deep concentration is maintained.
The final 10 bars of the Adagio are dramatically different from everything that came before. The character of the music here becomes majestic and solemn.
Large 4-voice fugue written written on a topic of wide extent. It is diatonic, based on dance rhythms, which, in combination with the 6/8 time signature, give the music a resemblance to a gigue. The theme is carried out 11 times: 7 times in exposition, 3 times in development and 1 time in reprise. Thus, much of the development is taken up by interludes.
The free form of the toccata consists of several episodes, clearly demarcated from one another. Differing in texture, dynamic, register, they are related:
- a mood of majestic pathos;
- a steady increase in dramatic tension, reaching its highest intensity at the conclusion of the toccata;
- by the nature of the theme.