Www.How To Add Music To Media Play Er Free.Com Organ Music: About Toccata and Fugue in F Major, BWV 540 by JS Bach

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Organ Music: About Toccata and Fugue in F Major, BWV 540 by JS Bach

Although the most popular of all organ toccatas by Johann Sebastian Bach is the legendary Toccata and Fugue in C minor, BWV 565, perhaps more masterful is the magnificent and brilliant Toccata and Fugue in B major, BWV 540. This work may have been created in Weimar when the true compositional style of a master composer was created . A virtuoso toccata and fugue in F major is usually a real technical and mental challenge for many skilled organists. If it is performed well, it is a real treat for any organ music lover and listener. Otherwise, it has the potential to create a feeling of boredom.

The toccata leaves the impression of a chase between voices and begins with a prolonged and playful two-voice canon on a long tonic pedal point (idea A). After this canon Bach writes another virtuoso chapter – a pedal solo in the tonic key leading to a cadence in the dominant – C major. Now the voice parts switch places and the canon begins again, only this time in a dominant key (C major). These two sections are used to establish the tonic and dominant keys and have a function, similar to the North German Passaggio in Pralodium.

After this episode, the chase stops but all the voices begin a long and tedious journey (for the performer, that is) through various keys associated with descending and ascending sequences (idea B is based on an arpeggio figure). During this toccata, canonical idea A and continuous idea B alternate and create an intriguing structural balance. In the development of idea A, Bach obviously shows his mastery of double counterpoint and sometimes even triple inversion at the interval of an octave. It’s basically a technique that allows voice replacement. This only works if the composer uses the appropriate intervals (most of the time thirds and sixths, avoiding fifths which in reverse become forbidden fourths). Second and seventh suspensions are also welcome in this technique.

Because of the repetition of two musical ideas, this toccata shows the influence of the Italian ritornello form. Bach learned to use this form in Weimar transcribing the concertos of Vivaldi and his contemporaries to the keyboard.

A fugue, on the other hand, provides a welcome relaxation for the organist from the technical point of view. However, Bach provides an additional challenge, for example an old-fashioned “palestrina”-style fugue with a bella barva (cut time) meter in an antico (old style) style. It is a double fugue, which means that a composer has to develop two musical themes. The two subjects must work in irreversible opposition to each other. In the exposition and counter-exposition of the first theme, Bach develops the solemn, slow, vocal musical idea in all four voices.

The second theme appears to be playful, dance-like, reminiscent of a Baroque Gabot dance. During this section, the pedal part remains silent and waits to enter until the powerful combination of the two themes towards the end of the fugue. While listening to the fugue in this wonderful video, feel free to count the number of performances of the first theme.

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