 | Bach, Johann Sebastian - Toccata in G Major for Pipe Organ BWV 916 Orgue seul |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Orgue seul1 autre version | ||||
| Genre : | Baroque | ||||
| Tonalité : | Sol majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 27 Mai 2017 During his early life, Johann Sebastian Bach experimented with a variety of formal types. In addition to German and French forms, Bach was greatly influenced by the Italian Baroque. This piece is an example of such experimentation; rather than the North German style which the other six manualiter (hands-only) toccatas follow, this one is based on the three-movement Italian concerto model, with alternation of tutti and "solo." Bach's most famous composition in this style was the "Italian" Concerto in F, BWV 971, and this work is also related to the organ Toccata, Adagio and Fugue in C, BWV 564. One manuscript of the work (now lost) apparently read, in translation, "Concerto or Toccata for Harpsichord," clearly indicating the difference between this and the other six toccatas with which this one is often collected. Written in the key of G major, one of Bach's "sunniest" keys, the opening begins with a falling scale, erupting into a series of parallel chords which descend an octave. Though these gestures serve as the "ritornello" for the movement, the overall demeanor is that of the quasi-improvisatory toccata; such juxtaposition of formal types is common in Bach's later music. After this opening, the texture thins to a more transparent one, indicating the switch to the "soloist" (of the concerto model). The alternation between the full ritornello and the lighter "solo" section occurs throughout the movement, in several harmonic regions. Although it bears the same form as the Italian Concerto mentioned above, the brief and rather uniform phrase structure here indicates that this work is likely very early (although perhaps slightly later than the other six toccatas). The second movement begins in a rather free section in adagio tempo, but returns to the four-voice motet style with which Bach was more comfortable. The counterpoint is free, though Bach does establish a brief theme that he works at throughout the movement after the contrapuntal texture begins. The third, and final movement, is a brilliant fugal gigue in the French style. After the opening few measures, we hear almost constant running sixteenth notes throughout, giving the work a very impressive texture (and the performer some awkward moments). While the movement is among the most elegantly constructed of the fugues in the manualiter toccatas, it occasionally suffers from lack of melodic variety; it seems that the young Bach very much enjoyed setting the subject in stretto (staggering entries so they overlap), a technique he uses with greater discretion in his more mature writing. At the same time, this toccata is probably the most unified of the keyboard toccatas in terms of style and formal plan. Source: AllMusic (http://www.allmusic.com/composition/toccata-for-keyboa rd-in-g-major-bwv-916-bc-l147-mc0002367840). Although originally written for Harpsichord. I created this Arrangement of the Toccata in G Major (BWV 916) for 2 Manual Pipe Organ. Partition centrale : | Toccata en Sol majeur (4 partitions) | | |||
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