Toccata and Fugue in D minor, BWV 565
Toccata and Fugue in D Minor, BWV 565 (Irwin Kostal Re-Record 1982)and
Johann Sebastian Bach trans. Donald Hunsberger. The Toccata and Fugue in D Minor is one of the greatest of the masterpieces that Bach wrote for the organ. From the free and showy style of the toccata and the huge climax at the end, it is evident that the work was conceived as a virtuoso concert piece rather than a work for a church service. The Toccata and Fugue in D Minor, originally written for organ, has since been arranged for virtually every musical performance medium from symphony orchestra to jazz band. Leopold Stokowski, Eugene Ormandy, Lucien Cailliet , and Sir Henry Wood all have made their own arrangements for orchestra, and no less than seven arrangers have created transcriptions for band.
Johann Sebastian Bach's Toccata and Fugue in D Minor is the first segment of Fantasia. Fantasia begins immediately (there are no opening credits or logos of any Sebastian Bach – Toccata and Fugue in D Minor BWV (Stokowski's own.
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By , abstraction in art wasn't new or shocking. Was the world ready, though, for dark, dense abstraction in an animated family feature? That was what Walt Disney was ready to find out when he brought his new film Fantasia to debut in New York City, which had been rocked 27 years earlier by Duchamp's Nude Descending a Staircase. In celebration of Fantasia 's 75th anniversary, we're exploring each segment of the movie that's now regarded as among the most seminal feature films of all time. Last month I wrote about the genesis of Disney's most distinctive creation , and this month we're looking at the segment that was, in many ways, the film's most pioneering: Bach's Toccata and Fugue in D minor. Opening Fantasia with the Bach animation was a very deliberate choice. Not only did the challenging segment establish from the outset that this would be a very different sort of film than Snow White or Pinocchio , it served as a bridge between the orchestra and the screen.
Fantasia begins immediately there are no opening credits or logos of any sort with the curtains being opened to reveal an orchestra stand. Musicians are seen ascending the stand, taking their places, and tuning their instruments. Master of ceremonies Deems Taylor arrives and delivers an introduction to the film. Stokowski appears and begins conducting the first strains of his own orchestration of the Toccata and Fugue in D Minor , by Johann Sebastian Bach originally written for solo organ. The first third of the Toccata and Fugue is in live-action, and features an orchestra playing the piece, illuminated by abstract light patterns set in time to the music and backed by stylized and superimposed shadows. The first few parts of the piece are played in each of the three sound channels first the right, then the left, then the middle, then all of them as a demonstration of Fantasound.
Toccata and Fugue in D Minor, BWV 565
First published in through the efforts of Felix Mendelssohn, the piece quickly became popular, and is now one of the most famous works in the organ repertoire. The attribution of the piece to Bach, however, has been challenged since the s by a number of scholars.