Johann Sebastian Bach - Toccata and Fugue in D minor BWV 565 - текст песни, слова, перевод, видео

Tokkata and Fuga Reh Minor, BWV 565 - a work for the organ of Johann Sebastian Bach, one of his most popular works. The authorship of the Tokkata and Fugue BWV 565 is disputed.

Since the 1980s. Music scientists dispute the authorship of the composition (for the first time Peter Williams in the article 1981, then-in a separate book-Rolf-Dietrich Klaus). Musical analysis reveals elements of style that is extremely atypical for Bach, or not at all in his music:

Parallel octaves at the beginning of the tokkata (do not occur in the technique of bach);

Subdominant response in the fugue (it is very rare in Bach);

Pedal conducting the topic (fugue) unaccompanied in other voices (not found anywhere else);

"Primitive" harmony, especially in the contrasts where parallel fines and sextons prevail (very rarely in Bach);

Conclusion on the plastic cadence in Minor (very rarely with Bach).

On the other hand, one of the most authoritative contemporary researchers of Bach Christophe Wolf, on the contrary, considers Tokkata and Fugu to a quite authentic Bakho composition created in the early period of his work. For example, on the argument of the stylistic alienation of parallel octave, Wolf objects that, writing out the octave, Bach thus compensated the absence of a 16-foot register on the Arnstadt authority, for which the composition was intended. The fact that a copy of the essay comes from the environment of Johann Peter Kellner, according to Wolf, does not speak against Bakhov’s authorship, but on the contrary, in his favor, since many of his early works have reached us just in copies created by scribes From this environment.

Composition "Tokkata and Fuga RE Minor BWV 565" is included in all publications of the authoritative catalog BWV (in the edition of Dürra-Kobayashi-with the necessary reservations about the problem of authorship) and in (the most complete) new edition of Bach's works (Neue Bach-ausgabe, known as NBA ).

The work is supposedly written by Bach during his stay in Arnstadt between 1703 and 1707.

A feature of this small polyphonic cycle is the continuity of the development of musical material (without a break between Tokkata and Fugu). The size of the work is 4/4. The form consists of three parts: tokkates, fugues and codes. The latter, echoing with tokkata, forms a thematic arch.

Most often, when it says ““ Tokkata and Fuga RE minor “Bach”, it means tokkata and fugue BWV 565, but this is not a sufficient definition of this work, since Bach wrote many tokkat and fugs for the organ in different tonalities, including RE Minor, for example, Tokkatom and Fugu RE minor BWV 538.

Tokkata begins with a brightly released muzzle, which is repeated by the octave below. Tokkata consists of contrasting episodes on the pace and texture of episodes ending in chord cadences.

Starting with Allegro, the toccate ends at the Adagio pace at the third stage of Reinor (FA), which adds incompleteness and makes it clear that this is not the ending.

The fugue is four -headed.

The theme of the fugue is written in the technique of hidden polyphony. Further imitating development of the work is based on melodic figures. Intermedia and the middle part deviate in parallel tonality FA MAZHOR. The reprise returning the fugue to Reinor begins with a strett.

The code is several “improvisational” contrasting episodes (the development technique is borrowed from Tokkata). The whole essay ends with plastic cadence.