Bach Fugue Analysis

The fugue begins with the first melody, with no accompaniment. As the first changes, the second melody is added at a slightly higher pitch. Again this

Bach’s Passacaglia and Fugue in C minor can conveniently be broken down into five separate sections. The first three sections of the the piece are considered to be in the passacaglia form while the last two sections are referred to as the fugue portion.

In addition, Bach was a virtuoso on the organ. He also served as an organ consultant, and composer of organ works, like toccatas, chorale preludes, and fugues. He had a reputation for having great creativity, and he was able to integrate many national styles into his works. Many of his works are said to have North German influences that were taught to Bach by Georg Bröhm. Bach also copied the works of many French and Italian composers in order to decipher their compositional languages. Later on, he arranged several violin concertos by Vivaldi for organ. Most experts of musical composition believe that the years, between 1708 and 1714, were his most productive. Within this period, he composed several preludes, fugues, and toccatas. During this span, Bach wrote the Little Organ Book, Orgelbüchlein. This book remains an unfinished collection of forty-nine short chorale preludes.

Organ is one of the most complex of all musical instruments; has the longest and most involved history and the largest and oldest existing collection of any instrument in Western music. There are other instruments as well on which different artists have performed the Bach’s Toccata and Fugue in D Minor. Such as, on Glass-Harp, Guitar or Piano etc.The first part of Bach’s piece is a “toccata”, is derived from the Italian word “toccare”, which means “to touch.” It represents a musical form for instruments that is designed to reveal the virtuosity of the performer’s touch. In Bach’s Toccata a great many fast harmonies (notes of a chord played in a series than simultaneously) and runs up and down the keyboard but otherwise is generally free form and gives the composer much latitude for personal expression.

The Toccata and Fugue in D minor is a two-part harmonious oeuvre for the organ, Bach composed the composition before 1708, and people recall it because of its magnificent sound, phenomenal authority, and stimulating rhythm. Moreover, the Fugue’s passage is a copy of a phrase in one of Johann Pachelbel’s D minor fantasias; ordinarily, the formation of fugues on other composers’ themes was conventional. Breitkopf and Hartel issued the piece in late 1833; Felix Mendelssohn devised and partly prepared the piece; moreover, he performed it on August 6, 1840, in Leipzig. The performance affected Franz Liszt so much that he decided to add the piece into his organ repertoire in the 19th

This piece is based upon the scriptural text from the King James Bible it was first performed in Dublin in 1742; Handel makes use of the renaissance technique of word painting and multi-part polyphony. It uses fascinating word painting and is repeated throughout the piece. This piece comes from the oratorio called Messiah; it is the third piece of Messiah. It is the combination of homophony and polyphony with the addition of two trumpets. There are also two oboes, two violins, a viola, and a basso continuo. The use of basso continuo (instrumental accompaniment) requires a chordal instrument and a thoroughbass.

The second piece that is discussed is Toccata in F major, by Johann Sebastian Bach. It is a solo piece that was performed in a unison and dissonant harmony. Surreal coordination and impressive pedal solo was extremely impressive and gave this particular piece a broad spectrum of dynamic change and tempo. Ascending and descending theme constantly repeated throughout this performance, alternating in crescendo and decrescendo, which brought life and movement to a classical piece.

Bach's "Organ Fugue G Minor" manages to sound both melancholy and lively at the same time. Although the texture of the piece is clearly Baroque in its construction, it has emotional depth that anticipates the Romantic period. The fugue is tuneful, partially because of its inventive repetition and expressive use of contrast. As in all fugues, one melody seems to repeat the other, in a kind of a musical dance. But the different voices are multifaceted and complex. The full range of the organ is represented and the textures of the music are complex.

S. Bach, G. F. Handel, and Domenico Scarlatti. Antonio Vivaldi, Claudio Monteverdi, Couperin, Jean-Phillippe Rameau and Jean-Baptiste Lully are other popular names in the Baroque era. Each composer specialises in different instrument compositions and techniques. Out of all the names mentioned, J. S. Bach remains to this day, one the greatest composers of both the Baroque era and all-time. Each of these composers specialise in different areas or compositions and instruments. Working extensively with keyboard instruments such as the organ and harpsichord, a few of J. S. Bach’s well-known compositions include his Brandenburg Concertos, Goldberg Variations, and St. Matthew’s Passion. G. F. Handel himself composed Italian operas, oratorios, anthems, and organ concertos. His most popular work of all-time is the “Hallelujah” chorus from the oratorio Messiah, which went on to become the most popular Baroque work and considered as a choice of piece often performed in Christmas time. Domenico Scarlatti on the other hand composed in a number of musical forms, but is best known for composing 555 keyboard sonatas.

Cantatas became famous, and those were spread from Italy many other countries of Europe. Cantatas became as famous as they were imitated by England, France and German composers. In Germany, the impact of the Italian cantata was limited at the beginning in those places where Italian musicians were employed, and where the Italian opera succeeded. Unlike Reinhard Keiser, a composer in Hamburg who wrote solo cantatas to both Italian and German texts, Bach just wrote two Italian solo cantatas. One of these two Italian solo cantatas is Non sa che sia dolore (BWV209) which has a stronger claim of authenticity due on stylistic grounds. Amore traditore (BWV203), unlike the other one is more doubtful in authenticity. Furtheremore, there are three solo cantatas which contain German words, being wedding cantatas two of them (BWV202 and BWV210), the other one (BWV204) shows that is better to be happy than to be

Bach was born into a musical family whose legacy traced back a few generations. Johann Ambrosius, Bach’s father, had a lot to do with his success in the music industry. He was also a musician and therefor took it upon himself to teach Bach how to play the violin and the harpsichord. Needless to say that from an early age, Bach had music imbedded within. Bach was the youngest son of Lutheran parents. His music career began early on his life when he joined the church’s choir and sang. However, Bach had to move to Ohrdruf, Germany when he was left an orphan. It is said that this was when his oldest brother, Johann Christoph Bach, taught him to play the organ and who introduced him to the keyboard instruments. He continued to be part of the church’s choir which ultimately led to him receiving a scholarship for his amazing voice. In this time, fine voices were crucial. Since it’s hard to keep a man’s voice the same forever, Bach had to transfer over to playing the violin; his voice

The hundreds of sacred works he created are usually seen as manifesting not just his craft but a truly devout relationship with God. He had taught Luther's Small Catechism as the Thomaskantor in Leipzig, and some of his pieces represent it. The Lutheran chorale was the basis of much of his work. In elaborating these hymns into his chorale preludes, he wrote tightly integrated works than most, even when they were massive and lengthy. The large-scale structure of every major Bach sacred vocal work is evidence of subtle, elaborate planning to create a religiously and musically powerful expression. For example, the St Matthew Passion, like other works of its kind, illustrated the Passion with Bible text reflected in recitatives, arias, choruses, and chorales; but in crafting this work, Bach created an overall experience that has been found over the centuries since to be both musically thrilling and spiritually

part of Bach’s career. “Unlike most Princes of his time, he was a player of considerable

Johann Sebastian Bach, a German composer in 16 through 1750. He was the youngest of eight children born in 1685 in Eisenach, Thuringia, Germany. Bach was born into one of the greatest German musician families in the 17th and 18th century. It is said that his family writes for each other. His father was a trumpet and violinist. The rest of his family like uncles and cousins had played the organ. His mother and father had died when he was ten years old, Bach was alone. At this time, he moved in with his brother, where he has his first official lesson on the organ. Bach’s music is one of the greatest achievements in the history of music. Bch believed that the aim and final belief of music should be none else then the glory of god and the recordation

The court orchestra consisted of twenty-two players. Bach’s function was mainly a violinist, however he also played harpsichord. Bach, on occasion, wrote some of the music that was played. During this period he wrote strictly for the organ, and he was rapidly becoming known throughout the country. As time went on, people were coming to see him far and wide.