- BACH TOCCATA AND FUGUE IN D MINOR BRASS QUINTET SHEET MUSIC SERIES
- BACH TOCCATA AND FUGUE IN D MINOR BRASS QUINTET SHEET MUSIC FREE
Arranged for saxophone sextet by Nigel Wood. Originally, the Philadelphia Orchestra was slated to be filmed in the introduction and interstitial segments, but union and budgetary considerations prevented this from coming to pass. Toccata and Fugue in D minor, BWV 565, by J.S.Bach. Smith, who mime to the prerecorded tracks by Stokowski and the Philadelphia Orchestra. The animation segues back into the live-action footage of Stokowski as the piece concludes, setting the precedent for the rest of the musical numbers.Īlthough the Philadelphia Orchestra recorded the music for the film (excepting The Sorcerer's Apprentice), they do not appear onscreen the orchestra used onscreen in the film is made up of local Los Angeles musicians and Disney studio employees like James Macdonald and Paul J. Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger, who worked for a brief time on this segment. The number segues into an abstract animation piece-a first for the Disney studio-set in time to the music. 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. 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. 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). Master of ceremonies Deems Taylor arrives and delivers an introduction to the film. Musicians are seen ascending the stand, taking their places, and tuning their instruments. Johann Sebastian Bach's Toccata and Fugue in D Minor is the first segment of the film, Fantasia.įantasia begins immediately (there are no opening credits or logos of any sort) with the curtains being opened to reveal an orchestra stand. JS Bach Toccata & Fugue In D Minor 'dorian' Bwv538.
What we call, absolute music, even the title has no meaning beyond a description of the form of the music.” ― Deems Taylor Structure is lent to the whole, however, partly because the fugue derives its thematic material from the preceding part.“ Now the number that opens our Fantasia program, the Toccata and Fuge is music of this third kind. So it is remarkable that both the toccata and the prelude are often paired with the fugue, which is subject to strict compositional rules. This fanciful style of composition that had come over from Southern Europe was described by the same Walther as ‘freed from all constraint’. The marked freedom of the toccata is connected to the stylus phantasticus, which was popular in North Germany from the seventeenth century. But while Johann Gottfried Walther refers to the prelude simply as ‘ein Vorspiel’ in his Musikalisches Lexicon of 1732, he describes the toccata as a long piece in which both hands alternate, sometimes accompanied by long pedal notes.
BACH TOCCATA AND FUGUE IN D MINOR BRASS QUINTET SHEET MUSIC FREE
Like the prelude, the toccata is an unstructured form, in which keyboard players can give free rein to their imagination. Fortunately, this ‘youthful lapse’ by Bach was preserved for posterity by the copyist Johannes Ringk.
A lot of his other early organ work has been lost completely. Later on, Bach may have felt embarrassed about his crude, youthful ‘clavier hussar’ style, as his biographer Forkel called it, and put the work aside.
BACH TOCCATA AND FUGUE IN D MINOR BRASS QUINTET SHEET MUSIC SERIES
After the force of the ‘improvised’ toccata, the strictly directed fugue with its uninterrupted series of fast notes certainly sounds no less furious. In any case, this sort of octave doubling is not found in any of Bach’s later organ works. In order to create the effect produced by a 16-foot register (which sounds an octave lower than a ‘normal’ 8-foot register), Bach probably used octave doubling, thus enabling the continuation of the resounding effect of the opening bars. Much would be explained if this toccata and fugue could be situated in Bach’s younger years in Arnstadt, as the organ there lacked a 16-foot register on the keyboard. Unfortunately, Bach’s own score has not survived, which has led to many speculations on the creation date of this wild and original composition that is actually not very ‘Bach-like’. The secret is in the striking first note, accented with a mordent, followed by that brief, tense moment of silence and the overpowering descending series of notes (or variations on it, like in Pirates of the Caribbean). From Disney’s Fantasia to The Phantom of the Opera, the opening of this composition has provided many memorable moments.
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