Bach Toccata & Fugue BWV 565 D minor 巴哈 觸技曲 賦格 バッハ トッカータ フーガ Vampire 吸血鬼 Organ Score Sheet 譜 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Bach Toccata & Fugue BWV 565 in D minor
巴哈 觸技曲 與 賦格 作品565 D小調
巴哈 触技曲 与 赋格 作品565 D小调
Bach Tocata y fuga BWV 565 en re menor
バッハ トッカータ と フーガ 作品565 ニ短調
Classical music Música clásica クラッシック 古典音樂 古典音乐
Organ 管風琴 Órgano オルガン
Vampire 吸血鬼
#Bach #Toccata #Fugue

00:00 Toccata
01:07 Fugue

D小調觸技曲與賦格，作品號BWV 565為巴赫著名的作品，同時也是管風琴作品中最傑出的作品之一。但自1980年代起有學者質疑此曲是否由巴赫本人所作。此曲亦有多個改編版本，如法國號、鋼琴、交響樂、弦樂四重奏等，也出現於各流行媒體中，包括迪士尼的幻想曲。

The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach (1685–1750). The piece opens with a toccata section, followed by a fugue that ends in a coda. Scholars differ as to when it was composed. It could have been as early as c. 1704. Alternatively, a date as late as the 1750s has been suggested. To a large extent, the piece conforms to the characteristics deemed typical of the north German organ school of the Baroque era with divergent stylistic influences, such as south German characteristics.
Despite a profusion of educated guesswork, there is not much that can be said with certainty about the first century of the composition's existence other than that it survived that period in a manuscript written by Johannes Ringk. The first publication of the piece, in the Bach Revival era, was in 1833, through the efforts of Felix Mendelssohn, who also performed the piece in an acclaimed concert in 1840. Familiarity with the piece was enhanced in the second half of the 19th century by a fairly successful piano version by Carl Tausig, but it was not until the 20th century that its popularity rose above that of other organ compositions by Bach. That popularity further increased, due for example to its inclusion in Walt Disney's Fantasia (in Stokowski's orchestral transcription), until this composition became, by far, the best known work of the eighteenth-century organ repertoire.
A wide, and often conflicting, variety of analyses has been published about the piece: for instance, in literature on organ music, it is often described as some sort of program music depicting a storm, while in the context of Disney's Fantasia, it was promoted as absolute music, nothing like program music depicting a storm. In the last quarter of the 20th century, scholars such as Peter Williams and Rolf-Dietrich Claus published their studies on the piece and argued against its authenticity. Bach scholars like Christoph Wolff defended the attribution to Bach. Other commentators ignored the doubts over its authenticity, or considered the attribution issue undecided.

BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section.

Toccata
The Toccata begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the octave. It then spirals toward the bottom, where a diminished seventh chord appears (which actually implies a dominant chord with a minor 9th against a tonic pedal), built one note at a time. This resolves into a D major chord.
Three short passages follow, each reiterating a short motif and doubled at the octave. The section ends with a diminished seventh chord which resolved into the tonic, D minor, through a flourish. The second section of the Toccata is a number of loosely connected figurations and flourishes; the pedal switches to the dominant key, A minor. This section segues into the third and final section of the Toccata, which consists almost entirely of a passage doubled at the sixth and comprising reiterations of the same three-note figure, similar to doubled passages in the first section. After a brief pedal flourish, the piece ends with a D minor chord.

Fugue
The subject of the four-voice fugue is made up entirely of sixteenth notes, with an implied pedal point set against a brief melodic subject that first falls, then rises. Such violinistic figures are frequently encountered in Baroque music and that of Bach, both as fugue subjects and as material in non-imitative pieces. Unusually, the answer is in the subdominant key, rather than the traditional dominant. Although technically a four-part fugue, most of the time there are only three voices, and some of the interludes are in two, or even one voice (notated as two). Although only simple triadic harmony is employed throughout the fugue, there is an unexpected C minor subject entry, and furthermore, a solo pedal statement of the subject—a unique feature for a Baroque fugue. Immediately after the final subject entry, the fugue resolves to a sustained B♭ major chord.

Coda
A multi-sectional coda follows, marked Recitativo. Although only 17 bars long, it progresses through five tempo changes. The last bars are played Molto adagio, and the piece ends with a minor plagal cadence.