Toccata and fugue in D minor is one of the most famous and reknown works of Johann Sebastian Bach. Moreover, it is very likely that any person initiated or not the classical music has heard many times in his life, since it is widely adopted in film, television, radio and even in video games. Bach is one of the greatest virtuosos, and one of the most prolific and influential musicians in the history of universal art.
This piece for organ, rather short, was created during the youth days of the musician, this is the reason why the music sheet is not written with the characteristic aesthetics we are used to in his artistic maturity.
The work was probably inspired by Dietrich Buxtehude, musician, organist and German composer Johann Sebastian Bach greatly admired.
Nevertheless, the authorship of this work remains controversial and some musicologists attribute the toccata and fugue composer Johann Peter Kellner.
Structure of the Toccata and fugue in D minor
La toccata and fugue in D minor consists in three parts.
One part of 29 bars, consisting of scales, arpeggios, and dissonant chords, recitative style, toccata (prestissimo) The fugue, 97 bars with a shaped part toccata (bars 59-85) the conclusion, bars 127-143, returns to the recitative style (written expressly states) (presto – adagio – vivace – adagio molto …)
f in the beginning, this work was probably written for organ, transcriptions for many instruments exist. We present today a surprising interpretation of the Toccata and Fugue in D minor for violin.
Video of the toccata and fugue in D minor on the violin
This version of the Toccata and Fugue in D minor by Johann Sebastian Bach violin is interpreted brilliantly by the violinist Sergei Krylov.
The toccata is a kind of prelude organists improvised before interpreting a fugue. His melodic speech is frequently interrupted by rapid passages, arpeggios, non-harmonious chords, etc..
Polyphony, structured according to the technique of counterpoint. It involves the superposition of two or more melodies heard simultaneously, all having the same importance. This simultaneity creates a dense sonic texture, typical of the baroque aesthetic richness. The melodies may seem contradictory and may even seem chaotic to less exercised ears, but with exercised listening, the melodies create a perfect musical harmony.
Featured image, painting Bach in Heaven by Johnathan Day.