Toccata and Fugue in D minor, BWV 565

569: 367: 1206:. The author warns against numerological over-interpretation like that of Volker Gwinner. Many parts of the composition are described as typical of Bach. Williams sees stylistic matches with Pachelbel, with the north German organ school, and with the Italian violin school, but sees various unusual features of the composition as well. Williams questions the authenticity of the piece, based on its various unusual features, and elaborates the idea that the piece may have a violin version ancestor. The reworked edition of this book, in one volume, appeared in 2003, and devotes more pages to discussing the authenticity and possible prior versions of BWV 565. In the meantime, Williams had written a 1981 article on the authenticity of BWV 565; this was followed by numerous publications by other scholars on the same topic. 353: 339: 325: 311: 282: 1733: 448: 1741: 1579:, "It is hard to establish what led the composer to quote Bach—perhaps the shared key of D minor led to the idea of the organ, whereas the small church might have at most accommodated nothing more than a run-down harmonium. In any case, for a classically trained musician such a glaring reference to one of the most hackneyed commonplaces of Western art music—certainly the most hackneyed within Bach's output (although its authorship has long been disputed)—clashes with the alleged intention of paying homage to the Eisenach maestro." In his autobiographical book written with 1477:—music that exists for its own sake—and will try to depict what might go on in the mind of the person listening to it. "At first you are more or less conscious of the orchestra," Taylor explains, "so our picture opens with a series of impressions of the conductor and the players. Then the music begins to suggest other things to your imagination—oh, just masses of color, or cloud forms, or vague shadows, or geometrical objects floating in space." In the 1942 cinema release of the film by RKO, the Toccata and Fugue was cut entirely, only to return in a 1946 re-release. 994: 709:

Bach to becoming one of the signature pieces of the composer. The composition's third century took it from Bach's most often recorded organ piece to a composition with an unclear origin. Despite Mendelssohn's opinion that it was "at the same time learned and something for the people", followed by a fairly successful piano transcription in the second half of the 19th century, it was not until the 20th century that it rose above the average notability of an organ piece by Bach. The work's appearance (in an orchestral transcription by

27: 1224: 42: 1141:'s 1909 Bach biography, the work is qualified as "well known" and "one of the most effective of works in every way". He calls the Toccata "brilliantly rhapsodical", more or less follows Spitta in the description of the fugue, and is most impressed by the coda: "It would be hard to find a concluding passage more imposing or more absolutely adapted to the requirements of the instrument than this coda." Apart from seeing Buxtehude's influence, he likens the theme of the fugue to the theme of the fugue of 1375: 1260: 1241: 1714:... the fact remains that the Toccata is strikingly unorganistic and modern to have been written by Bach around 1705, even if the form is that of North German toccata. There are, however, few organ pieces with so much spirit and drive, and why should not a genius like Bach, in youthful high spirits, have produced this unique work, which is in some respects half a century before its time and which could achieve a place as one of the most beloved compositions in all of music history? 922:, who released it in the US in 1911 on Columbia 10-inch disc A945 and in the UK on Columbia-Rena disc 1704, which is one of the first commercial pipe organ recordings. In 1926, the organ version of BWV 565 was recorded on 78 rpm discs. In a 1928 concert program, Schweitzer indicated BWV 565 as one of Bach's "best-known" compositions, considering it to be a youth work. Schweitzer's first recording of the piece was issued in 1935. In 1951, he recorded the work again. 1261: 1242: 8678: 1395: 1816:(most of them early works) have simplistic elements and quirks similar to BWV 565. Bach's early keyboard works, especially the free ones like Preludes and Toccatas, cannot always be clearly separated into organ pieces and harpsichord pieces. Spitta had already remarked on the similarity between a passage in BWV 565 and one in the harpsichord Prelude BWV 921; Robert Marshall compares the continuation patterns and sequences of the harpsichord Toccata 395: 513:, a pupil of Pachelbel, whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel's D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well. At the time it was however common practice to create fugues on other composers' themes. 268: 1187:

not sound like a "meaningless scramble". He describes the fugue as slender and simple, but only a "very sketchy example of the form". In his description of the piece, Grace refers to Pirro, elaborating Pirro's "storm" analogy, and like Pirro, he seems convinced Bach went touring with the piece. His suggestions for the organ registration make comparisons with how the piece would be played by an orchestra.

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was about to change. In 1908, Schweitzer reworked his biography for its first German edition. In that edition he indicates the work as "well known". After listing several organ works in which Bach showed himself a pupil of Buxtehude, Frescobaldi, and various contemporary Italian composers, Schweitzer describes the Toccata and Fugue in D minor as a work in which the composer rises to independent mastery:

8705: 407: 1690:, a note organs in Bach's time rarely had, and which Bach almost never used in his organ compositions. In his book on BWV 565, which he expanded in 1998 to counter some of the criticisms it received, Claus also dismisses the prior-version options suggested by Williams, noting that the toccata was an unknown genre for violin solo compositions of the time. Several essays in 4337:"Quel rituale di morte compiuto in una chiesa mi convinse a impiegare la citazione bachiana e l’organo. Le posture assunte da Volonté in quella sequenza mi rimandarono ad alcune pitture di Rembrandt e Vermeer, pittori che in effetti piacevano molto a Leone e per di più vissero in un’epoca prossima a quella di Bach. Volsi lo sguardo musicale indietro, a quel passato." 1252: 1233: 1635:, but with more than half of the Fugue more likely composed by J. S. Bach. After initially confirming Williams's doubts about the authorship of BWV 565, by the second decade of the 21st century, statistical analysis left the attribution issue undecided. No-one had found a composer more compatible with the style of its fugue than Bach himself. In the words of 436: 1583:, Morricone wrote that, "The death ritual carried out in a church convinced me to use the Bach quotation and the organ. Volonté's gestures in that sequence reminded me of some paintings of Rembrandt and Vermeer that Leone was fond of. Those artists lived in an epoch close to Bach, and with my music I decided to look at that kind of past." 876: 1719:

use of solo pedal) may indicate post-1730, or even post-1750 idioms. Statistical analysis conducted by Peter van Kranenburg in 2006 confirmed the fugue was atypical for Bach, but failed to find a composer more likely to have composed it than Bach. David Schulenberg feels that the attribution of BWV 565 to Bach is doubtful.

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breaking continuity. He links it to the northern school, and mentions Tausig, Busoni and Stokowki as influencing its trajectory. Basso warns against seeing too much in the composition. He feels it may be within reach of everyone but is neither an incantation, nor ridden with symbolism and even less a sum of whatever.

1259: 1240: 850:, the editor of these volumes, explains in the introduction to Vol. 6 that the New Bach Edition prefers to stay close to authoritative early sources for their score presentations. For BWV 565 that means staying close to the Ringk manuscript. Consequently, the name of the piece was again given in Italian as 1591:

A certain uneasiness regarding the authorship of BWV 565 had been around long before the 1980s. From Hilgenfeldt in 1850, to Elgar in the 1920s, to Basso in the late 1970s, the extraordinary popularity of the piece seems to have taken scholars and musicians by surprise. Of Mendelssohn's prophecy that

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Before his 1906 Bach biography, André Pirro had already written a book on Bach's organ works. In that book he devoted less than a page to BWV 565, and considers it some kind of program music depicting a tempest, including flashes of lightning and rumbling thunder. Pirro supposes Bach had success with

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In the D minor toccata and fugue, the strong and ardent spirit has finally realised the laws of form. A single dramatic ground-thought unites the daring passage work of the toccata, that seems to pile up like wave on wave; and in the fugue the intercalated passages in broken chords only serve to make

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Up to this point, none of the biographers seem to have given any special attention to BWV 565. If mentioned, it is listed or described along with other organ compositions, but is far from being considered the best or the most famous of Bach's organ compositions, or even of his toccatas. However, that

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In the first century of its existence the entire reception history of the Toccata and Fugue in D minor consists of being saved from oblivion by maybe not more than a single manuscript copy. Then it took about a century from its first publication as a little-known organ composition by Johann Sebastian

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The other hypothesis elaborated by Williams is that BWV 565 may have been a transcription of a lost solo violin piece. Parallel octaves and the preponderance of thirds and sixths may be explained by a transcriber's attempt to fill in harmony which, if preserved as is, would be inadequately thin on a

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on Bach discuss the attribution problems of BWV 565. Other biographers and scholars have left these attribution and prior-version theories unmentioned, or explained the atypical characteristics of the composition by indicating it was a very early composition by Bach, probably written during his stay

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The analysis of the material sources for the piece, its oldest surviving manuscripts, although insufficiently pursued according to some scholars, was seen as too limited to give a conclusive answer to these questions. What was available from that branch of the research could be explained in opposite

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period (1708–1717). He saw more north German characteristics (Buxtehude's restless style) in the form of the Toccata, rather than south German (Pachelbel's simple and quiet approach). Spitta considered the fugue "particularly suited to the organ, and more especially effective in the pedal part." His

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The authorship debate has continued in the 21st century. Wolff calls it a pseudo-problem. Williams suggested that the piece may have been created by another composer who must have been born in the beginning of the 18th century, since details of style (such as triadic harmony, spread chords, and the

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was released in 1940, the animations accompanying BWV 565 had been made semi-abstract, although Fischinger's original idea that the performance of the music start with showing Stokowski directing his orchestra was preserved. Taylor begins his narrative with, "What you’re going to see is the designs

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In the early 1920s, Harvey Grace published a series of articles on Bach's organ works. He considers that the notes of the piece are not too difficult to play, but that an organist performing the work is primarily challenged by interpretation. He gives tips on how to perform the work so that it does

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devotes a few pages to the Toccata and Fugue. He considers it an early work, probably composed for testing the technical qualities of a new organ. He feels that the crescendo that develops through arpeggios, gradually building up to the use of hundreds of pipes at the same time, can show exactly at

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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

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knew, use the treble clef and a separate staff for the pedal. In general, the later copies show a less excessive use of fermatas in the opening measures and are more correct in making the note values fit the measures, but that may as well be from polishing a defective source as from deriving from a

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throughout the opening of the toccata, the true subdominant answers in the fugue, and the primitive harmonies throughout the piece, with countersubjects in the fugue frequently moving through thirds and sixths only. All of these characteristics are either unique or extremely rare in organ music of

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of the later 18th century to be an early 18th-century composition. Its presumed time of composition shifted around. Some felt the composition was too modern to have been composed by a young Bach, or too simplistic to have been composed by a middle-aged Bach. Although many commentators have invoked

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releases, the list on the sleeve contained the organ compositions in the order they appeared on the recording without distinction; in the 1960s, BWV 565 began to be listed first; by the 1980s, the font size for BWV 565 was larger than that of the other compositions; and in the 1990s, Walcha's 1963

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The composition has been deemed both "particularly suited to the organ" and "strikingly unorganistic". It has been seen as united by a single ground-thought, but also as containing "passages which have no connection whatever with the chief idea". It has been called "entirely a thing of virtuosity"

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In 1982, David Humphreys suggested that BWV 565 may have been composed and/or arranged by Kellner, or by someone from the circle around Kellner. Despite many stylistic similarities, however, Kellner was ruled out a quarter of a century later: "in comparison with the style of Kellner, BWV 565 more

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calls BWV 565 "famosissimo" (most famous) and "celebratissima" (most celebrated), maintaining that the popularity of these works hinges entirely on this composition. He sees it as a youth work, composed before 1708, that with its underdeveloped fugue is stylistically eclectic but unified without

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description of the piece refers to long sections that are surfeit: "rocking passages which have no connection whatever with the chief idea" and organ recitatives alternating with "ponderous, roaring masses of chords". Spitta likened some phrases of the Toccata and Fugue to another early work, the

414:

All other extant manuscript copies of the score date from at least several decades later: some of these, written in the 19th century, are related with each other in that they have similar solutions to the defects in the Ringk manuscript. Whether these derive from an earlier manuscript independent

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wrote that the Toccata and Fugue was uncharacteristic for Bach, but nonetheless bore some of his distinguishing marks. His description of the piece echoes earlier storm analogies. Keller sees the opening bars' unison passages as "descending like a lightning flash, the long roll of thunder of the

382:

Ringk's manuscript does not use a separate staff for the pedal part, which was common in the 18th century (notes to be played on the pedal were indicated by "p." being written at the start of the sequence). Printed editions of the BWV 565 organ score invariably write the pedal line on a separate

960:

Here is elemental and unbounded power, in impatiently ascending and descending runs and rolling masses of chords, that only with difficulty abates sufficiently to give place to the logic and balance of the fugue. With the reprise of the initial Toccata, the dramatic idea reaches its culmination

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These doubts about the authorship of BWV 565 were elaborated by Peter Williams in a 1981 article. Hypotheses proposed by Williams in that article included that BWV 565 may have been composed after 1750 and may have been based on an earlier composition for another instrument, supposedly violin.

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takes no position with regard to the composition's authenticity. In 2009, Reinmar Emans wrote that Claus and Wolff had diametrically opposed views on the reliability of Ringk as a copyist, inspired by their respective positions in the authenticity debate, and thinks that sort of speculation

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or a five-stringed cello as alternative possibilities in 2003. A new violin version was created by scholar Bruce Fox-Lefriche in 2004. In 2005, Eric Lewin Altschuler wrote that if the first version of BWV 565 was written for a stringed instrument the most likely candidate would have been a

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Johann Sebastian Bach. Complete Organ Works: a critico-practical edition in eight volumes provided with a preface containing general observations on the manner of performing the preludes and fugues and suggestions for the interpretation of the compositions contained in each volume

5699: 1262: 1243: 981:, who did not record organ performances very often, included BWV 565 in their anthologies. By the end of the century, hundreds of organists had recorded BWV 565. In the 21st century, several recordings of BWV 565 became available online, such as a recording included in 3712: 220:, and probably faithfully copied what his teacher put before him. There are some errors in the score such as note values not adding up to fill a measure correctly. Such defects show a carelessness deemed typical of Kellner, who left over 60 copies of works by Bach. 1749:

pipe organ. This is corroborated by the fact that the subject of the fugue, and certain passages (such as bars 12–15), are evidently inspired by string music. Bach is known to have transcribed solo violin works for organ at least twice: the first movement of the

1639:, who was sympathetic towards the violin version reconstruction: "The matter still remains open, despite the scholarly discourse that began in 1981. Until proof of the contrary, BWV 565 should be considered as a work by Johann Sebastian Bach." No edition of the 684:

The performance time of the piece is usually around nine minutes, but shorter performance times (e.g. 8:15) and execution times of over 10:30 exist. The first section of the piece, the Toccata, takes somewhat less than a third of the total performance time.

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In 1961, Antony Davies remarked that the Toccata was void of counterpoint. Half a decade later, BWV 565 was further questioned. Walter Emery advocated that scepticism was a necessary condition to approaching the history of Bach's organ compositions, and

770:

What remains is "the most famous organ work in existence", that in its rise to fame was helped by various arrangements, including bombastic piano settings, versions for full symphonic orchestra, and alternative settings for more modest solo instruments.

767:), as well as with untraceable earlier versions for other instruments and/or by other composers. It has been deemed too simplistic for it to have been written down by Bach, and too much a stroke of genius to have been composed by anyone else but Bach. 640:

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

946:'s recordings of BWV 565 in the 1960s listed the piece in the same font as the other recorded works, but by the 1980s it was in a larger font. US record companies seemed faster in putting BWV 565 forward as Bach's best-known organ piece. In 1955, 5873: 4258: 731:, yet too dramatic to be anything near that style. Its period of origin has been assumed to have been as early as around 1704, and as late as the 1750s. Its defining characteristics have been associated with extant compositions by Bach ( 7432: 837:

Volume XV p. 267", as "Novello VI, 1", or without "Dorian", to distinguish it from the Toccata and Fugue with the same key signature. From then on the work has been simply BWV 565, and the other, the so-called "Dorian", has been

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it was something for both the erudite and the masses, only the latter part had been fulfilled. Some scholars who analysed the composition's counterpoint felt it was substandard. They said it was stylistically too close to the

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Bach's Toccata and Fugue was not performed on the organ exclusively. The title page of the first publication of the piece already indicated that performance on the piano by one or two players was possible. From 1868 to 1881,

211:

narrows the time of origin of the manuscript down to around the middle of the first half of the 1730s, based on an analysis of the evolution of Ringk's handwriting. At the time Ringk was a student of Bach's former student

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used BWV 565 in the suspense and horror sense. It is used "without irony and in an apocalyptic spirit updated from its earlier Gothic implications" at the beginning and end of the 1975 dystopian science fiction film

372: 60: 7425: 358: 344: 330: 316: 5264: 3128: 1683:

In 1995, Rolf Dietrich Claus decided against the authenticity of BWV 565, mainly based on the stylistic characteristics of the piece. He named another problem—in its first measure the composition contains a

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This notion inspired a new theory of adaptation: the reconstruction. Reconstructions have been applied to several other works by Bach, with variable success. A reconstruction for violin has been played by

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what point the wind system of the organ might become inadequate. In his view, some of the more unusual characteristics of the piece can be explained as resulting from Bach's capacity as an organ tester.

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recorded the piano version he had published in 1944. From the 1950s to the first decades of the 21st century, there were half a dozen recordings of Tausig's piano version, and several dozen of Busoni's.

7418: 287: 4230: 253:, that received the "Dorian" nickname, that qualifier being effectively used to distinguish it from BWV 565. Most score editions of BWV 565 use the D minor key signature, unlike Ringk's manuscript. 863:

A facsimile of Ringk's manuscript was published in 2000. In the 21st century, the facsimile became available online, as well as various downloadable files of previously printed editions. In 2010,

6123: 588: 4871: 646:

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

1631:, Wilhelm Friedemann was even less likely to have been the composer of the Fugue than Kellner. The same research indicated that large portions of the Fugue were consistent with the style of 58: 4843: 3851: 3665: 1174:, in his 2000 Bach biography, sees BWV 565 as an early work. In his view, it is "as refreshingly imaginative, varied, and ebullient as it is structurally undisciplined and unmastered". 1323:

recorded his orchestration of the piece with the Philadelphia Orchestra. The score of Stokowski's arrangement was published in 1952. Other orchestrations of the piece were provided by

1120:'s 1882 biography, the work is again merely listed. In the 1905 first version of his Bach biography, Albert Schweitzer leaves BWV 565 unmentioned in the chapter on the organ works. In 7616: 6020: 1660:

saw problems with the traditional historiography of Bach's youth. Roger Bullivant thought the fugue too simple for Bach and saw characteristics that were incompatible with his style:

5191: 138:, who also performed the piece in 1840. It was not until the 20th century that its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in 5849: 5388: 586: 2783: 7446: 779:

In 1833, BWV 565 was published for the first time, in the third of three bundles of "little-known" organ compositions by Bach. The edition was conceived and partly prepared by

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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.

7278:"Skeptoid #799: On the Authorship of the Toccata and Fugue in D Minor: The most famous organ work in history has a surprising mystery – we're not really sure who composed it!" 1293:

was producing orchestrations of two organ pieces by Bach, which did not include BWV 565. Elgar did not particularly like the work, nor Schweitzer's glowing comments about it.

59: 6265: 1600:

In a 1981 article, Peter Williams reiterated the speculations, from which he saw a way out of the conundrum, already featured in his 1980 book on Bach's organ compositions:

1124:'s 1906 biography, Bach's organ toccatas are only mentioned as a group. He considers none of them written before Bach's later Weimar years (so closer to 1717 than to 1708). 432:

cleaner earlier source. In the later copies the work is named for instance "Adagio" and "Fuga" (for the respective parts of the work), or "Toccata" for the work as a whole.

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Vol. 3: Toccatas & Fugues en ré mineur bwv 565 – en fa majeur bwv 540 / Préludes & Fugues en do majeur bwv 545 – en mi majeur bwv 533 – Fugue en sol mineur bwv 578

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Kranenburg, Peter van (4 October 2010). "On Measuring Musical Style – The Case of Some Disputed Organ Fugues in the J. S. Bach (BWV) Catalogue" Ch. 5 pp. 71–89 in

1312:(pseudonymously, as "Paul Klenovsky") arranged his orchestration before the end of the decade. By the mid-1930s, Leonidas Leonardi had published his orchestration, and 3800: 4019:

Farmer, Clark (2008). ""Every Beautiful Sound Also Creates an Equally Beautiful Picture": Color Music and Walt Disney's Fantasia". In Jay Beck; Tony Grajeda (eds.).

1597:

Bach's genius to explain the dislocated modernity in an immature composition, an increasing number of scholars felt unsatisfied with such an intangible explanation.

587: 3334: 1112:

Spitta also detects a rhythmic figure that appears briefly in the concluding part of the work (bar 137) which, extensively elaborated, reappears in the keyboard

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at the key). However, more modern conventions were maintained with regard to using the treble clef in the upper staff and using a separate staff for the pedal.

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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

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catalogue, Ringk created his copy between 1740 and 1760. As far as is known, Ringk produced his first copy of a Bach score in 1730 when he was 12. According to

6547: 4693: 3371: 3345: 3083: 879:

Program of Mendelssohn's 1840 organ concert: BWV 565 is listed as last piece by Bach, before the "Freie Phantasie" which was an improvisation by Mendelssohn.

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ways. Likewise, whether the more elaborate stylistic evidence was considered conclusive or merely circumstantial, depended on who was trying to prove what.

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the short film proved costly to produce. However, starting with the Toccata and Fugue and the Sorcerer's Apprentice, Stokowski, Disney and the music critic

249:. Another piece listed as Bach's was also known as Toccata and Fugue in D minor, and was equally entitled to the "Dorian" qualification. It was that piece, 7952: 6057: 5489: 1473:

and pictures and stories of what music inspired in the minds and imaginations of a group of artists." The opening number, the "Toccata and Fugue," will be

6215:

CD 151 – Organ Works: Toccata & Fuga BWV 565/Concerto BWV 594/Praeludium & Fuga BWV 548/"Allein Gott in der Höh' sei Ehr" BWV 711–715/717 (issued

4296: 2102: 1979: 1433:

to accompany abstract animations and suggested to Stokowski that his orchestral version of BWV 565 could be used in the same way. Later in 1937, while in

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this music in the smaller German courts he visited. All in all, he judges the music as superficial, not more than a stepping stone in Bach's development.

8032: 7442: 2827: 993: 933:(DG), there is an obvious evolution of the work from "one among many" organ compositions by Bach to a definite signature piece by the composer. In early 6508: 612:, 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 245:

symbol at the key (which would be the usual way to write down a piece in D minor). In this sense, in Ringk's manuscript, the piece is written down in D

7231:

Perspectives on Organ Playing and Musical Interpretation: Pedagogical, Historical, and Instrumental Studies: A Festschrift for Heinrich Fleischer at 90

4868: 7972: 6163: 4424: 1765: 736: 732: 192: 8095: 3995: 727:

depicting a storm, but also as abstract music, quite the opposite of program music depicting a storm. It has been presented as an emanation of the

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Prelude and fugue, E minor, BWV 548; Prelude and fugue, A minor, BWV 551; Prelude and fugue, C major, BWV 547; Toccata and fugue, D minor, BWV 565

4771: 7988: 7558: 4840: 8168: 6598: 1074: 4519: 4191: 3848: 3662: 616:

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

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defended the attribution to Bach. Other commentators ignored the doubts over its authenticity, or considered the attribution issue undecided.

8125: 7544: 5287: 1157: 462: 7404: 6874:

Bach and the Baroque: European Source Materials from the Baroque and Early Classical Periods with Special Emphasis on the Music of J.S. Bach

1736:

Transposed to A minor and adapted for the violin, the opening offers an opportunity to drop down through all four strings of the instrument.

8130: 7505: 7212:(2002). "Zum norddeutschen Kontext der Orgelmusik des jugendlichen Bach: Das Scheinproblem der Toccata d-Moll BWV 565", pp. 241–51 in 5417: 1754: 7884: 7871: 7837: 7824: 7739: 7726: 5288:

Zwei Orgeltoccaten = Two organ toccatas = Deux toccates d'orgue von Joh. Sebastian Bach auf das Pianoforte übertragen (BV B 29)

4154:

Jeremy Barham (Fall-Winter 2008). "Scoring Incredible Futures: Science-Fiction Screen Music, and "Postmodernism" as Romantic Epiphany".

3525: 756: 366: 5160:

Toccata und Fuge (D moll) für die Orgel (Pedal und Manual) von Johann Sebastian Bach für das Clavier zum Conzertvortrag frei bearbeitet

8135: 7897: 7792: 7779: 7752: 1744:

Quadruple stops, not uncommon for 18th-century solo violin music, could have been used in passages such as this, taken from the ending.

4903: 3946: 352: 338: 324: 310: 7573: 4968: 2787: 1212:, a 1986 collection of essays edited by George Stauffer and Ernest May, discussed the registration Bach would have used for BWV 565. 7607: 6610:

Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst

4805: 8740: 8627: 1812:

toccata original, which was deemed unlikely by Williams. However, Billeter's argument makes authorship by Bach more likely: Bach's

1492: 3239: 3220: 8422: 6004: 3286: 3193: 3017: 1455:, the intention being to introduce classical music to a younger and broader audience. Similar in spirit to the popular series of 814:. In 1912, BWV 565 was published in the second volume, containing works of Bach's "first master period". Around the start of the 281: 6856: 6833:(Computing in Musicology Vol. 15) edited by Walter B. Hewlett, Eleanor Selfridge-Field, Edmund Correia. University of Michigan. 3828: 3781: 3267: 8498: 7927: 7539: 7490: 8457: 8088: 7910: 7864: 7857: 7850: 7817: 7810: 7772: 7765: 7719: 7712: 7693: 7525: 7520: 7515: 7510: 7500: 7495: 7485: 7480: 4925: 4747: 3107: 1695: 1142: 1082: 20: 3744: 3693: 3503: 2376: 950:

recorded the Toccata 14 times, played on different European organs, and Columbia issued those recordings on a single album.

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Miceli, Sergio (2016). "Leone, Morricone and the Italian Way to Revisionist Westerns". In Mervyn Cooke; Fiona Ford (eds.).

3797: 2970: 1518: 1443: 1078: 6344:

Altschuler, Eric Lewin (Winter 2005). "Were Bach's Toccata and Fugue BWV565 and the Ciacconia from BWV1004 Lute Pieces?".

5094:

Johann Sebastian Bach's noch wenig bekannte Orgelcompositionen: auch am Pianoforte von einem oder zwei Spielern ausführbar

2951: 8382: 7684: 7677: 7670: 6643:

Emans, Reinmar (2004). "Vom überstrapazierten Autor: Biographische Konstruktionen bei Echtheitskritik" pp. 17–29 in

5984: 2989: 1399: 1361: 103:. Although the date of its origin is unknown, scholars have suggested between 1704 and the 1750s. The piece opens with a 7136:

Volume 1: Preludes, Toccatas, Fantasias, Fugues, Sonatas, Concertos and Miscellaneous Pieces (BWV 525–598, 802–805 etc.)

3284:

Bach-Busoni: Piano Transcriptions of Bach's Works & Works inspired by Bach, by Ferruccio Busoni – Recordings, Part 2

8161: 7981: 7300: 7252: 7238: 7221: 7177: 7143: 7125: 7104: 7093: 7072: 7008: 6937: 6881: 6867: 6838: 6713: 6671: 6655: 6590: 6571: 6540: 6522: 6495: 6432: 6025: 4330: 4290: 4252: 4143: 4116: 4091: 4066: 4034: 3891: 2593: 2554: 2450: 2416: 1784:

produced his own reconstruction, also in A minor, which he has performed and recorded. In 2000, Mark Argent proposed a

6826: 4714:

Johann Sebastian Bach / Andrew Manze, Richard Egarr, Jaap ter Linden – Four Violin Sonatas; Toccata and Fugue, BWV 565

3328: 7410: 4683: 4501: 3306: 1889: 1097: 155:

The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of

6544: 1466:

chose other compositions to incorporate into their film project, known as "The Concert Piece." By the time Disney's

833:

was published, it was no longer needed to indicate the Toccata and Fugue in D minor as "Peters Vol. IV, No. 4", as "

8735: 8620: 8102: 51: 5764: 8730: 7965: 7599: 7530: 7282: 5828:

Walt Disney's Fantasia – Leopold Stokowski and the Philadelphia Orchestra: Remastered Original Soundtrack Edition

5818: 5753: 4649: 1750: 1643:

has listed BWV 565 among the works seen as spurious or doubtful, nor does the work's entry on the website of the

1616:

resembles the style of J. S. Bach"; "many of Kellner's keyboard pieces revealed that his style boasts pronounced

8725: 8025: 8010: 7204: 7018: 6820: 6768: 6634: 6270: 5759: 4495: 4058: 3966: 3515: 3067: 2823: 2088: 1976: 1627:, transcribed for the organ by Ringk, was named as another possible source. However, according to 21st-century 126:

Little was known about its early existence until the piece was discovered in an undated manuscript produced by

6793:

Präludien, Toccaten, Fantasien und Fugen I: BWV 531–550, 562 (Fragment) / Critical Commentary to Part I and II

2431:

Crist, Stephen A. (1997). "The early works and the heritage of the seventeenth century". In Butt, John (ed.).

2043: 1939: 1490:

used BWV 565 as a joking reference to the horror genre. The piece has appeared in many other films, including

719:

contributed to its popularity, around which time scholars started to seriously doubt its attribution to Bach.

8681: 8401: 8154: 7159: 6183:

Toccata & Fugue BVW 565 – Preludes & Fugues BVW 532 & 552 – Fantasia BWV 572 – Pastorale BVW 590

4280: 3330:

Johann Sebastian Bach's Leben, Wirken und Werke: ein Beitrag zur Kunstgeschichte des achtzehnten Jahrhunderts

1846: 1199: 1077:, the work is left unmentioned. Forkel probably did not even know of the composition. In C. L. Hilgenfeldt's 1052:'s 1931 recording on the piano, based on the Tausig and Busoni transcriptions, was written out as a score by 929:

playing BWV 565 on organ was released. In that, and subsequent releases of Walcha's recordings of BWV 565 on

595: 168: 7398: 7149:

Williams, Peter F. (July 1981). "BWV 565: a toccata in D minor for organ by J. S. Bach?" pp. 330–37 in

1604:

The piece was originally composed for violin, not necessarily by Bach (that would explain its "simplicity");

8642: 8521: 7932: 7921: 7664: 7563: 5110: 4026: 1813: 919: 19:"Toccata and Fugue in D minor" redirects here. For the Toccata and Fugue in D minor known as "Dorian", see 6666:

edited by Gertraud Mitterauer, Ulrich Müller, Margarete Springeth and Verena Vitzthum. Walter de Gruyter.

5000:

Background color: green: online version of score available; red: introduction and/or commentary available

3475: 3316: 2610: 2239: 1529:. Shortened to two minutes in length, BWV 565 was used as the introductory theme for the French animation 1289:

Around the same time as Grace made comparisons with an orchestral version in his performance suggestions,

8648: 8388: 8045: 7233:

edited by Ames Anderson, Bruce Backer, David Backus and Charles Luedtke. New Ulm: Martin Luther College.

4421: 3471: 2531: 1113: 568: 6850:"On Measuring Musical Style – The Case of Some Disputed Organ Fugues in the J. S. Bach (BWV) Catalogue". 5854: 3982: 2905: 2889: 1620:

elements ... this clearly stands in strong contrast to the dramatic style of the Toccata BWV 565".

1506:, before the submarine's pitiless and apparently unmotivated attack on a ship. BWV 565 also appeared in 8695: 8363: 8325: 8269: 8204: 8052: 7937: 7466: 7265:

Albrecht, Timothy E. (1980). "Musical Rhetoric in J.S. Bach's Organ Toccata BWV 565" pp. 84–94 in

6514: 5060: 4768: 4236: 3409: 1430: 911: 6791: 5451: 3421: 1336: 826:'s late 19th-century edition of the work in volume 2 of their complete edition of Bach's organ works. 8005: 7568: 7342: 6842: 6827:"Assessing Disputed Attributions for Organ Fugues in the J. S. Bach (BWV) Catalogue" Ch. 7 pp. 120–37 6168: 5644: 5186: 3585: 2321: 1873: 1607:

It was later transcribed for the organ, not necessarily by Bach (that would explain its "modernity").

1367: 1106: 846:

included BWV 565 in Series IV, Volume 6, with its critical commentary published in Volume 5 in 1979.

834: 764: 510: 420: 203:, Ringk made his copy of the Toccata and Fugue between 1730 and 1740. In his critical commentary for 116: 5452:

Organ Works 6: Preludes, Toccatas, Fantasias and Fugues II – Early Versions and Variants of I and II

1675:

Williams added more stylistic problems to the ones already mentioned by Bullivant, among others the

541:

The Toccata begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the

8587: 7649: 7381: 6759:

The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit. Volume 1: 1695–1717

6049: 5785: 5198: 4516: 4109:

America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry

1053: 978: 723:

yet also described as being "not so difficult as it sounds". It has been described as some sort of

550: 7027: 6974: 6957: 6849: 6560:

Toccata und Fuge d-Moll BWV 565: Faksimile der ältesten überlieferten Abschrift von Johannes Ringk

5508: 5282: 5181: 5088: 4487: 3991: 3368: 3342: 2690:

Marx, Adolf Bernhard (1795–1866), 1833 (score) (can't find this print source on OPAC-RISM catalog)

2514: 1753:, BWV 1006, was converted by Bach into the solo organ part of the opening movement of the cantata 1732: 864: 204: 8473: 7946: 7196: 7118: 6708:, edited by Hubert Steinke, Angela Berlis, Andreas Wagner and Fritz von Gunten. Haupt Verlag AG. 6660:

Emans, Reinmar (2009). "Möglichkeiten und Grenzen der Textkritik bei Incerta" pp. 103–11 in

5478: 5065: 4322: 3459: 2824:"Columbia matrix 4892. Toccata / J. J. McClellan – Discography of American Historical Recordings" 1740: 1624: 1531: 1486: 1452: 668:. Although only 17 bars long, it progresses through five tempo changes. The last bars are played 447: 7334: 7229:(2002b). "Bach's organ toccata in D-minor and the issue of its authenticity" pp. 85–107 in 6529: 5414: 3059: 3053: 1884:, created an adaptation for brass quintet that became a worldwide standard for brass ensembles. 673: 8709: 8613: 8338: 8259: 8110: 7273: 6663:

Was ist Textkritik?: Zur Geschichte und Relevanz eines Zentralbegriffs der Editionswissenschaft

6453: 6282: 5949: 5810: 5745: 5341: 5204: 4482: 3302: 1640: 1543: 1525: 1407: 1301: 1269: 1070: 903:

triplets in the opening section, and the quintadena stop for the repeated notes in bars 12–15.

830: 579: 88: 7163: 6701: 6413:[Bach's Toccata and Fugue in D minor for organ BWV 565 – a work for harpsichord?]. In 6410: 6296: 6062: 4616: 4612: 4608: 4400: 4385: 4132: 4041: 3880: 3614: 3522: 3518: 3447: 3443: 3387: 2857: 2811: 2664: 2419: 2218: 2056: 1949: 1008:'s arrangement of BWV 565. The VF series with a bright green label ran from 1925 to 1927. 8465: 7702: 7654: 7621: 7578: 7451: 7151: 6608: 6564:

Toccata and Fugue in D minor BWV 565: Facsimile of the earliest extant copy by Johannes Ringk

6458: 5724: 5461: 5211: 4900:"RM Williams Publishing – Bach/Nagy: Toccata and Fugue in D Minor (in F Minor) for solo horn" 4586: 4155: 3844: 3647: 3597: 3561: 2799: 2700: 2581: 2543: 2362: 1877: 465:, BWV 564, because in the Baroque era such organ pieces would most commonly be called simply 398:

Beginning, Ringk's "Dorian" notation – layout like Ringk's manuscript apart from position of

96: 8016: 6427:]. Zürcher Musikstudien (in German). Vol. 4. Zürich: Peter Lang. pp. 159–164. 3939: 1564: 867:

initiated a new edition of Bach's organ works, with BWV 565 appearing in its fourth volume.

509:

stretches are rarely found in the works of northern composers and may have been inspired by

8514: 8344: 8191: 8178: 7659: 7475: 7348: 6504: 6406: 5965: 5077: 5044: 4899: 3129:

Toccata (D moll) für Orgel von Joh. Seb. Bach: Für Pianoforte zum Concertvortrag bearbeitet

2195: 1691: 1628: 1468: 1412: 1379: 1017:'s piano transcription of the Toccata and Fugue in D minor was performed four times in the 953: 715: 689: 522: 490: 387:(as was common in the time when the manuscript originated), where printed editions use the 213: 188: 144: 8072: 7591: 6300: 6291: 5667: 3691:

Bach-Leonardi: Orchestral Arrangements/Transcriptions of Bach's Works by Leonidas Leonardi

3499:

Le origini familiari, l'ambiente luterano, gli anni giovanili, Weimar e Köthen (1685–1723)

942:

CD set with popular tunes by various classical composers. Similarly, the album sleeves of

8: 7958: 7043: 6953: 6890: 6753: 6414: 6176: 6085: 6070: 5990: 5931: 5862: 5497: 5337: 5305: 4797: 3978: 3398: 3360: 1865: 1720: 1644: 1636: 1632: 1117: 1086: 985:'s Bach Organ Works project and John Scott Whiteley's broadcast for BBC TV made in 2001. 930: 823: 807: 502: 494: 208: 8082:

major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805

6916: 6808: 5794: 5588:

Last column sortable by performance time; Background-color: green: audio file available

4841:

Johann Sebastian Bach. Toccata e fuga in re minore BWV 565: elaborazione per flauto solo

3310: 3015:

Organ Works BWV 525–771: Recorded Sets of Bach's Complete (or near complete) Organ Works

1900:, was revealed to be among the best-selling pop singles to incorporate classical music. 8635: 8557: 8331: 8319: 7368:, performed on a Flentrop Organ by organist Rodney Gehrke for the Early Music ensemble 6441: 6394: 6363: 6207: 6115: 6012: 5103: 5098: 4162: 3236: 3217: 943: 298:

Digital facsimiles of the Ringk manuscript became widely available in the 21st century.

273: 34:'s manuscript, which is, as far as known, the only extant 18th-century copy of the work 7440: 4433:

Ein Beispiel der mitteldeutschen Orgelkunst des 18. Jahrhunderts: Johann Peter Kellner

3402: 3283: 3190: 3014: 1021:

in Leipzig. Many more piano transcriptions of BWV 565 were published, for instance by

974: 427:

circle) is debated by scholars. These near-identical 19th-century copies, the version

8745: 8581: 8222: 7385: 7296: 7248: 7234: 7217: 7200: 7173: 7139: 7121: 7100: 7089: 7082: 7068: 7004: 6994: 6980: 6963: 6946: 6942: 6933: 6903: 6877: 6863: 6834: 6816: 6813:

ISMIR 2006: 7th International Conference on Music Information Retrieval – Proceedings

6797: 6764: 6722: 6709: 6682: 6667: 6651: 6630: 6586: 6567: 6536: 6518: 6491: 6428: 6377: 6346: 5883: 5867: 5806: 5777: 5741: 5395: 5309: 5050: 4491: 4436: 4326: 4286: 4248: 4139: 4112: 4087: 4062: 4030: 3962: 3887: 3825: 3778: 3690: 3511: 3264: 3063: 2589: 2550: 2446: 2412: 2030: 1850: 1403: 1352: 1297: 934: 907: 803: 792: 780: 710: 428: 424: 149: 135: 7317: 6604: 1328: 435: 191:, where the manuscript is kept, and similar bibliographic descriptions, e.g. in the 8543: 8376: 6778:

Die Orgelwerke Bachs: Ein Beitrag zu ihrer Geschichte. Form, Deutung und Wiedergabe

6467: 6386: 6355: 6246: 5903: 5710: 5445: 5352: 5271: 5253: 4240: 3205: 2909: 2893: 2438: 1861: 1676: 1507: 1502: 1457: 1426: 1417: 1304:. Soon the idea was emulated by other musicians. An orchestration was performed in 1026: 843: 819: 811: 617: 613: 554: 498: 200: 100: 26: 7583: 5093: 4933: 3104: 2442: 1773: 505:, and other north German characteristics are most apparent. However, the numerous 7370: 7226: 7209: 7190: 7186: 7167: 7135: 7111: 7097: 7047: 7023: 6998: 6988: 6926: 6787: 6757: 6729: 6661: 6650:

edited by Cordula Heymann-Wentzel and Johannes Laas. Königshausen & Neumann.

6644: 6551: 6449: 6418: 5624: 5429: 5421: 5226: 4875: 4847: 4827: 4775: 4656: 4523: 4505: 4428: 4351: 4020: 3950: 3855: 3832: 3804: 3785: 3748: 3741: 3716: 3697: 3669: 3573: 3529: 3507: 3497: 3375: 3349: 3338: 3290: 3271: 3243: 3237:

Bach-Friedman: Piano Transcriptions of Bach's Works by Ignaz Friedman Discography

3224: 3218:

Bach-Grainger: Piano Transcriptions of Bach's Works by Percy Grainger Discography

3197: 3111: 3021: 2993: 2974: 2955: 2405: 2380: 2373: 1983: 1893: 1868:

made an arrangement for solo flute, recorded by Mario Caroli. A version for solo

1789: 1760:. Bach also transcribed the Fugue movement of Sonata in G minor for solo violin, 1657: 1538: 1332: 1324: 1171: 888: 847: 815: 799:

published the work in 1886 as No. 1 in their sixth volume of Bach's organ works.

796: 760: 196: 172: 7377: 2967: 2432: 891:, who admired the work's famous opening as an example of Bach's sense of humor. 875: 223:

The title page of Ringk's manuscript writes the title of the work in Italian as

8606: 8491: 8305: 7338: 7039:

Johann Sebastian Bach: His Work and Influence on the Music of Germany 1685–1750

7033: 7013: 7000:

Die Orgelwerke Johann Sebastian Bachs: Vorworte zu den "Sämtlichen Orgelwerken"

6967: 6773: 6618: 6201: 5941: 5913: 5466: 5370: 5028: 4929: 4688: 4660: 4179: 3202:

Bach Piano Transcriptions – 3: Ignaz Friedman / Percy Grainger / William Mudoch

2948: 1881: 1777: 1568: 1474: 1425:

After 1936, another approach to using BWV 565 in film was under consideration.

1320: 1313: 1191: 1162: 1093: 1057: 1049: 947: 915: 633: 267: 184: 164: 127: 31: 6912: 6899: 6801: 5440: 4477: 4244: 4183: 3634:

Stauffer, George B. "Bach's Organ Registration Reconsidered", pp. 193–211, in

3435: 3265:

Bach-Tausig: Piano Transcriptions of Bach's Works by Carl Tausig – Discography

2986: 1374: 1121: 461:

The name "Toccata" is most probably a later addition, similar to the title of

227:, names Johann Sebastian Bach as the composer of the piece, and indicates its 8719: 8369: 8198: 6155: 6143:

Toccata & Fugue / Passacaglia / Fugue / Concerto / Fantaisie & Fugue

6136: 6033: 5976: 5841: 5718: 5674: 3826:

Bach-Cailliet: Arrangements/Transcriptions of Bach's Works by Lucien Cailliet

3779:

Bach-Sevitzky: Arrangements/Transcriptions of Bach's Works by Fabien Sevitzky

3658: 3489: 3123: 1897: 1833: 1798: 1512: 1305: 1195:

broken chords of the full organ, and the stormy undulation of the triplets".

1149: 1045: 1030: 1022: 1001: 926: 724: 692:

is not specified, and performers' choices vary from simple solutions such as

609: 558: 416: 232: 156: 120: 7365: 5870:; Research period IX: Works by Johann Sebastian Bach; Series F: Organ works 5518: 883:

The first major public performance was by Mendelssohn, on 6 August 1840, in

791:

as No. 4 in their fourth volume of organ compositions by Bach. In 1867, the

439:

Beginning, D minor notation, with the pedal part on a separate staff (also,

217: 8662: 8430: 8407: 8238: 8232: 6886: 6781: 6718: 6257: 6230: 5654: 5170: 5123: 4645: 2098: 2093: 1781: 1593: 1548: 1497: 1463: 1290: 1138: 982: 966: 896: 784: 728: 697: 661: 384: 183:

The only extant near-contemporary source for BWV 565 is an undated copy by

131: 112: 6892:

Johann Sebastian Bach: The Story of the Development of a Great Personality

5258:

Selection of Joh. Seb. Bach's Organ Works transcribed for Pianoforte Duet

4498: 4440: 3923:

Touchstones of Gothic Horror: A Film Genealogy of Eleven Motifs and Images

1347:

BWV 565 was used as film music well before the sound film era, becoming a

1044:

several times in the first decades of the 20th century. In the mid-1920s,

906:

The work was first recorded (in abridged form as "Toccata and Finale") by

688:

As was common practice for German music of the 17th century, the intended

8507: 8435: 6858:

A Computational Approach to Content-Based Retrieval of Folk-Song Melodies

6809:"Composer attribution by quantifying compositional strategies" pp. 375–76 6678:"Some Speculations on the Development of Bach's Organ Style", pp. 596–603 6626: 6471: 6193: 5687: 5637: 5409:

Symphonic transcription published from the library of Leopold Stokowski.

5360: 5320: 5215: 5139: 1885: 1869: 1857: 1845:

Recordings of BWV 565 that have appeared on popular music charts include

1809: 1707: 1438: 1081:

it is merely listed among the published works. Hilgenfeldt considers the

1014: 1005: 997: 970: 892: 810:

to compile a complete edition of Bach's organ compositions, published by

642: 637: 388: 246: 139: 7065:

J. S. Bach as Organist: His Instruments, Music and Performance Practices

6367: 5734: 5703: 5293: 5054: 4166: 2034: 1797:. Yet another violin version was created by Chad Kelly and performed by 501:). The composition has stylistic characteristics from both schools: the 8656: 8593: 8575: 8440: 6398: 6093: 5659: 5634:

Toccata and fugue in D minor arranged for pianoforte solo by C. Tausig

5629: 3798:

J. S. Bach: Toccata and Fugue in D Minor orchestrated by René Leibowitz

3186: 1908:

References consisting of a last name and date refer to an entry in the

1785: 1448: 1434: 1309: 1281: 1041: 1018: 506: 383:

staff. In Ringk's manuscript the upper staff is written down using the

92: 75: 7617:

Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769

6735:

Gwinner, Volker (1968). "Bachs d-moll-Tokkata als Credo-Vertonung" in

6677: 5513: 1481:

contributed significantly to the popularity of the Toccata and Fugue.

938:

recording of the piece became the only piece by Bach included in DG's

561:

pedal), built one note at a time. This resolves into a D major chord:

7352: 7277: 6359: 5964:(Columbia 42644, re-issued as CD by CBS in 2011, with liner notes by 5242: 3958: 1100:. He assumed the work was written in the first year of Bach's second 1096:

devoted somewhat less than a page to the work in the first volume of

1034: 7384:

website (contains an introduction to the composition and a video of

6585:. Translated by John Sayer (2nd ed.). At the Sign of the Pipe. 6411:"Bachs Toccata und Fuge d-moll für Orgel BWV 565 – ein Cembalowerk?" 6390: 4880: 1930:

all others, unless the full citation is given in the reference, see

1575:, where the theme is heard on the organ at full blast. According to 1348: 483:

markings, fermatas (a characteristic feature of Ringk's copies) and

8550: 5891: 5695:

No. 676: Organ Toccata & Fugue: Pianoforte Solo (Bach, Tausig)

4852: 4801: 3753: 3105:

Bach-Brassin: Piano Transcriptions of Bach's Works by Louis Brassin

1761: 1700: 1048:

recorded the Tausig piano version of BWV 565 on 78 rpm discs.

484: 440: 228: 7003:, with an introduction by Harald Schützeichel. Georg Olms Verlag. 1727: 8599: 4828:"Allmusic – Vanessa-Mae: Charts & Awards – Billboard Singles" 4187: 1821: 1817: 1560: 1552: 1356: 884: 854:, and the piece was again written down in D Dorian (i.e. without 839: 752: 748: 744: 740: 546: 526: 399: 250: 236: 104: 6375:

Argent, Mark (Autumn 2000). "Decoding Bach 3. Stringing Along".

6278: 4869:

Sciarrino: Toccata and Fugue by J S Bach arranged for solo flute

4663:'s 2015 recording of the concertos, Harmonia mundi HMC 902181.82 1764:, as the second half of Prelude and Fugue in D minor for organ, 887:. The concert was very well received by the critics, among them 795:

included it in Band 15 of its complete edition of Bach's works.

406: 394: 7288:– reviews speculation that J. S. Bach did not compose the work. 6918:

Johann Sebastian Bach: The Organist and his Works for the Organ

6896:

New York: G. P. Putnam's Sons; London: The Knickerbocker Press.

6240: 6099: 6077:

Johann Sebastian Bach: Toccata & Fuge / Famous Organ Works

3809: 3082:"Statistik der Concerte im Saale des Gewandhauses zu Leipzig", 1667:

A pedal statement of the subject, unaccompanied by other voices

1572: 1272:, reissued on two sides of a 78 rpm disc in the late 1920s 1101: 1089:'s 1865 Bach biography, BWV 565 is only listed in an appendix. 542: 171:

and Rolf Dietrich Claus argued against its authenticity, while

7405:

Sheet music and recordings (original, arrangements) of BWV 565

7399:

Bach, Johann Sebastian – Toccata and Fugue in D minor, BWV 565

7172:(2nd ed.). Cambridge University Press. pp. 155–159. 7084:

The Reception of Bach's Organ Works from Mendelssohn to Brahms

4780: 783:, who already had BWV 565 in his repertoire by 1830. In 1846, 443:

in second half of second measure converted to modern notation)

7113:

J. S. Bach at His Royal Instrument: Essays on His Organ Works

6292:

BWV 565: Toccata con Fuga in d / Toccata and Fugue in D Minor

4528: 3860: 3721: 3674: 629: 530: 479: 108: 6583:

Toccata and Fugue in D minor BWV 565 – A Work by J. S. Bach?

5519:

Vol. 4: Toccatas and Fugues / Individual Works – with CD-ROM

4216:

Reflections on the Music of Ennio Morricone: Fame and Legacy

1586: 1541:

took inspiration from the score BWV 565/1 for the 1965 film

8146: 4969:"Best-selling pop songs to sample classical music revealed" 2674: 2672: 1794: 1116:, a work he supposes to have been composed around 1710. In 1037:

in transcriptions for both piano two hands and four hands.

487:

dots, all very unusual features for pre-1740 German music.

6038:

J. S. Bach – L'Œuvre Pour Orgue – Intégrale en 24 disques

5329:

Volume II: Preludes and fugues of the first master period

2385: 961:

amidst flying scales and with an ending of great sonority.

6420:

Musiktheorie und musikalische Praxis: gesammelte Aufsätze

3742:

Ormandy Conducts Bach Orchestral Transcriptions – PASC211

1842:("On a toccata by Bach"), which contributed to its fame. 895:

adopted the piece into his organ repertoire. He used the

5294:

Toccata in D moll = D minor = ré mineur (Toccata e fuga)

2669: 2170: 2168: 2166: 2164: 2162: 2160: 2158: 2156: 99:

and is one of the most widely recognisable works in the

5769:

Toccata and Fugue in D minor (Stokowski transcription)

4728: 4285:(in Italian). Harper Collins Italia. pp. 134–135. 3408:

London: Sampson Low, Marston, Searle, & Rivington.

3315:

New York: Harcourt, Brace and Howe; London: Constable.

2198:. "Bach's Free Organ Works and the 'stylus Phantasticus 2154: 2152: 2150: 2148: 2146: 2144: 2142: 2140: 2138: 2136: 1268:

Stokowski's orchestration performed by himself and the

1085:

the most accomplished of Bach's toccatas for organ. In

7042:, translated by Clara Bell and J. A. Fuller Maitland, 6646:

Musik und Biographie: Festschrift für Rainer Cadenbach

5664:

Toccata & Fugue in D minor (Tausig transcription)

2071: 2069: 2067: 2065: 2048: 2046: 1441:

discussed the idea of making a short animated film of

1359:. Its first uses in sound film included the 1931 film 1215: 8693: 7388:'s 2013 performance of the work, released 2 May 2014) 6796:, Volume 6 in three Parts of Serie IV: Orgelwerke in 6691:

The Greatest Violin Sonata That J.S. Bach Never Wrote

4948: 2588:, edited by Robert Lewis Marshall. Psychology Press. 1872:

was arranged by Zsolt Nagy and has been performed by

696:

to exceedingly complex ones, like those described by

95:

by, according to the oldest sources, German composer

7216:

edited by Wolfgang Sandberger. Kassel: Bärenreiter.

6798:

Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke

6706:

Albert Schweitzer: Facetten einer Jahrhundertgestalt

5523:

No. 3 Toccata et Fuga in d BWV 565 (pp. 56–65)

5128:

Johann Sebastian Bach's Compositionen für die Orgel

4480:; Kobayashi, Yoshitake; Beißwenger, Kirsten (1998). 4365: 4363: 4361: 3875: 3873: 3609: 3607: 3605: 2559: 2133: 956:

describes the force of the piece on a record sleeve:

239:. However, in Ringk's manuscript the staves have no 6425:

Music theory and musical practice: collected essays

6307: 5527: 2062: 1994: 1992: 1968: 1966: 1964: 1962: 1960: 1958: 1559:("Sixty Seconds to What?") for the opening baroque 965:Organists recording BWV 565 more than once include 7366:4K Ultra HD video of the Toccata and Fugue BWV 565 7063:Stauffer, George Boyer; May, Ernest, eds. (1986). 6245:Switched-On Bach 2000 (25th anniversary sequel to 5361:Volume II: Preludes, Fugues, Fantasia and Toccatas 4547: 4464: 4462: 2497: 2495: 2493: 2491: 1563:of J. S. Bach's Toccata. The cowboy shootout with 410:"D Dorian" mode notation used by Ringk for BWV 565 130:. It was first published in 1833 during the early 7531:Eight Short Preludes and Fugues, BWV 553–560 7245:Bach's Feet: The Organ Pedals in European Culture 6445:Vol. 50 No. 1, January–March 1997, p. 77–80. 4666: 4630: 4395: 4393: 4380: 4378: 4358: 4022:Lowering the Boom: Critical Studies in Film Sound 3870: 3602: 2650: 2648: 2646: 2605: 2603: 2601: 2509: 2507: 2345: 2343: 2341: 2339: 2337: 2335: 2333: 2331: 2329: 2279: 2277: 2256: 2234: 2232: 2230: 2228: 2226: 2213: 2211: 1820:, and the Fugue theme of the harpsichord Toccata 1788:five-stringed cello instead. Williams proposed a 1664:Conclusion of the piece on a minor plagal cadence 1177: 8717: 8089:Concerto transcriptions, BWV 592–596 and 972–987 7506:Fantasia and Fugue in G minor ("Great"), BWV 542 7496:Toccata and Fugue in D minor ("Dorian"), BWV 538 7214:Bach, Lübeck und die norddeutsche Musiktradition 7056:The Free Organ Preludes of Johann Sebastian Bach 6531:Zur Echtheit von Toccata und Fuge d-moll BWV 565 6044:Toccata & Fugue en ré mineur bwv 565 (8:42) 6003:CD 2, No. 4 (2:37, Toccata only – Fugue of that 4452: 4450: 4448: 3916: 3914: 3556: 3554: 2636: 2634: 2632: 2180: 1989: 1955: 1148:In the 1979 first volume of his Bach biography, 7989:Capriccio on the departure of a beloved brother 7559:Prelude (Toccata) and Fugue in E major, BWV 566 7526:Prelude and Fugue in E minor ("Wedge"), BWV 548 7401:, wikipiano.wikidot.com – Accessed 3 April 2016 6080:Toccata & Fugue in D minor, BWV 565 (8:56) 4459: 4012: 3452: 2576: 2574: 2526: 2524: 2522: 2488: 2481: 2479: 2477: 2475: 2473: 2316: 2314: 2312: 2310: 2123: 2121: 2119: 1728:Anterior version hypothesis and reconstructions 1300:recorded his orchestration of BWV 565 with the 1202:wrote about BWV 565 in the first volume of his 187:. According to the description provided by the 21:Toccata and Fugue in D minor, BWV 538 7564:Fantasia ("Pièce d'Orgue") in G major, BWV 572 7320:of original and Busoni piano arrangement from 4390: 4375: 4349:Davies, Antony (1961). "New light on Bach" in 4345: 4343: 3380: 3312:Johann Sebastian Bach: His Life, Art, and Work 2643: 2598: 2504: 2326: 2274: 2223: 2208: 918:in late August or early September 1910 by the 870: 207:'s 21st-century revised edition of the score, 8162: 8126:List of compositions by Johann Sebastian Bach 7545:Toccata, Adagio and Fugue in C major, BWV 564 7426: 7407:, www.free-scores.com – Accessed 3 April 2016 7349:Toccata en fuga voor orgel BWV.565 in d kl.t. 7345:, Latvia. Accessed: 08:14, 3 April 2016 (UTC) 6702:"Albert Schweitzer als Organist", pp. 291–304 6110:Toccata and fugue in D Minor, BWV 565 (8:41) 6107:Bach, The Complete Organ Works, Vols 1 and 2 5927:Bach: Toccata in D minor (A Hi-Fi Adventure) 5836:Toccata and Fugue in D minor, BWV 565 (9:22) 5122: 4445: 3934: 3932: 3911: 3882:Meaning and Interpretation of Music in Cinema 3566: 3551: 3494:Frau Musika: La vita e le opere di J. S. Bach 2876: 2874: 2629: 2620: 2618: 2400: 2398: 2396: 2300: 2298: 1040:Tausig's version of the work was recorded on 549:. It then spirals toward the bottom, where a 231:as "ex. d. #.", which is usually seen as the 8131:List of fugal works by Johann Sebastian Bach 3971: 3849:concert program for 5, 6 and 9 December 1968 3485: 3483: 3431: 3429: 2571: 2519: 2470: 2307: 2249: 2247: 2116: 1837: 7293:The Organ Preludes of Johann Sebastian Bach 7192:Johann Sebastian Bach: The Learned Musician 7062: 5319: 4340: 4310: 4272: 4222: 4218:. Rowman & Littlefield. pp. 51–53. 4207: 3955:Music in the Horror Film: Listening to Fear 3905:Music in the Horror Film: Listening to Fear 3635: 3541: 3539: 3537: 2686: 2684: 2203: 1892:" uses BWV 565 and, in a list published by 159:depicting a storm, while in the context of 8169: 8155: 8136:List of concertos by Johann Sebastian Bach 7433: 7419: 6343: 4734: 4538: 4213: 3929: 3442:. Paris: Félix Alcan. (in third edition:) 2871: 2615: 2437:. Cambridge University Press. p. 75. 2393: 2295: 1623:A violin composition by Bach's eldest son 493:are distinguished into north German (e.g. 7574:Passacaglia and Fugue in C minor, BWV 582 7467:Fugue in G minor, BWV 131a 6485: 6321: 6319: 6317: 5731:No. C 1291: Toccata and fugue in D minor 5567: 5565: 5563: 5561: 5559: 5557: 5555: 4926:"Reviews: Where No Brass Has Gone Before" 4369: 4278: 3480: 3464: 3426: 2788:International Music Score Library Project 2349: 2244: 1972: 1587:Authenticity research and reconstructions 163:, is promoted as non-representational or 7393:Mixed media (sheet music and recordings) 7158: 7053: 6848:Kranenburg, Peter van (September 2008). 6599:review by David Baker, Organists' Review 6405: 5549:introduction and/or commentary available 4681: 4100: 4075: 4046: 3944:and the Organs of Horror", pp. 1–20 3920: 3534: 2681: 2565: 2174: 2127: 2075: 2052: 1945: 1849:'s 1980 rock-inspired recording (#83 on 1739: 1731: 1535:, in 26 episodes between 1978 and 1981. 1373: 1064: 992: 874: 446: 434: 405: 393: 25: 5545: 5543: 5541: 5539: 5537: 5514:Complete Organ Works – Breitkopf Urtext 5495: 5234:Book VI: Toccata, Preludes, and Fugues 5231:The Organ Works of John Sebastian Bach 4923: 4316: 4178: 4055:The Animated Man: A Life of Walt Disney 4052: 3977: 2015: 2013: 2011: 2009: 2007: 1650: 1580: 1316:'s orchestration was recorded in 1939. 152:'s orchestral transcription from 1927. 134:period through the efforts of composer 8718: 8483: 7928:Fantasia and Fugue in C minor, BWV 906 7540:Fantasia and Fugue in C minor, BWV 562 7491:Fantasia and Fugue in C minor, BWV 537 7164:"BWV 565 Toccata and Fugue in D minor" 6623:The True Life of Johann Sebastian Bach 6374: 6314: 5552: 5427: 5261:No. 2: Toccata & Fugue in D minor 4228: 4018: 3902: 2624: 2501:Liner notes of Fagius 1988 (recording) 1808:In 1997, Bernhard Billeter proposed a 1576: 1400:Tocccata and Fugue in D minor, BWV 565 1056:, and then recorded by other artists. 1000:recording No. 676 (part 1): 521:BWV 565 exhibits a typical simplified 8150: 7694:Overture in the French style, BWV 831 7655:English Suites, BWV 806–811 7650:Inventions and Sinfonias, BWV 772–801 7550:Toccata and Fugue in D minor, BWV 565 7521:Prelude and Fugue in C minor, BWV 546 7516:Prelude and Fugue in B minor, BWV 544 7511:Prelude and Fugue in A minor, BWV 543 7501:Toccata and Fugue in F major, BWV 540 7486:Prelude and Fugue in D major, BWV 532 7481:Prelude and Fugue in C major, BWV 531 7414: 7374:. Accessed: 08:14, 3 April 2016 (UTC) 7324:– Accessed: 08:14, 3 April 2016 (UTC) 6617: 6580: 6557: 6448: 4966: 4682:Rockwell, John (September 13, 1984). 4574: 4553: 4422:4.6 "BWV 565 – ein Werk von Kellner?" 4232:The Cambridge Companian to Film Music 4106: 3984:Bach's Complete Organ Works, Volume 4 3545: 2784:Toccata and Fugue in D minor, BWV 565 2711:Griepenkerl and Roitzsch 1846 (score) 2430: 1998: 1923:when followed by "(recording)" → see 1860:'s 1994 violin recording (#24 on the 1143:Prelude and Fugue in B minor, BWV 544 988: 533:), and a short free closing section. 52:Toccata and Fugue in D minor, BWV 565 7660:French Suites, BWV 812–817 7569:Fugue in G minor ("Little"), BWV 578 6295: 6261: 6224: 6185: 6145: 6079: 6043: 6016: 6002: 5970: 5907: 5877: 5845: 5835: 5814: 5800: 5771: 5749: 5733: 5697: 5666: 5636: 5617: 5534: 5471: 5357:Johann Sebastian Bach's Organ Works 5246: 5143: 5043: 5032: 4808:from the original on 18 October 2015 4790: 4194:from the original on 2 November 2020 4081: 3663:concert program for 15 December 1928 3051: 2004: 1756:Wir danken dir, Gott, wir danken dir 1680:the first half of the 18th century. 594:played on the Flentrop organ at the 16:Organ music by Johann Sebastian Bach 8383:Piano Concerto No. 2 (Shostakovich) 7632:Wo Gott der Herr nicht bei uns hält 5164:Toccata (pp. 2–6) – Fuge (pp. 7–15) 4684:"Concert: Academy of Ancient Music" 4321:. Translated by Maurizio Corbella. 3168:Bloomfield Zeisler 1912 (recording) 3058:. New York: Da Capo Press. p. 2939:Biggs 1960 (recording), liner notes 2374:Joseph Moog – Scarlatti Illuminated 1216:Arrangements for symphony orchestra 13: 7982:Aria variata alla maniera italiana 7703:Well-Tempered Clavier, BWV 846–893 7259: 6815:. Canada: University of Victoria. 6566:] (in German). Cologne: Dohr. 6558:Claus, Rolf Dietrich, ed. (2000). 5772:Two 78 rpm disc sides (8:53) 4134:Bach – musikpädagogisch betrachtet 4111:. A&C Black. pp. 323–24. 4057:. Simpson Book in the Humanities. 2582:"Johann Sebastian Bach" pp. 61 ff. 2019: 1751:Partita in E major for solo violin 1280:Problems playing these files? See 1222: 1145:, which he considers a late work. 672:, and the piece ends with a minor 553:appears (which actually implies a 477:. Ringk's copy abounds in Italian 66:Performed by Ashtar Moïra on organ 40: 14: 8757: 7306: 7295:. Ann Arbor: UMI Research Press. 6146:Toccata & Fugue en ré mineur 5571:online version of score available 5488: 4954: 4924:Shearer, Daniel (December 1999). 4319:Ennio Morricone: In His Own Words 2747:Widor and Schweitzer 1912 (score) 2586:Eighteenth-Century Keyboard Music 1916:when followed by "(score)" → see 1496:(1954), in which it is played by 1133:the climax all the more powerful. 774: 557:chord with a minor 9th against a 8703: 8677: 8676: 6831:Tonal Theory for the Digital Age 5026: 4960: 4917: 4892: 4862: 4834: 4820: 4762: 4750:. Presto Music. 22 November 2022 4740: 4719: 4707: 4675: 4639: 4621: 4601: 4592: 4579: 4568: 4559: 4510: 4471: 4414: 4405: 4172: 4148: 4125: 3896: 3838: 3819: 3791: 3772: 3763: 3735: 3703: 3684: 3652: 3640: 3628: 3619: 3590: 1706:At the end of the 20th century, 1393: 1257: 1238: 757:solo violin sonatas and partitas 584: 402:and the clef for the upper staff 365: 351: 337: 323: 309: 280: 266: 115:, and is largely typical of the 74:Problems playing this file? See 56: 8741:Fugues by Johann Sebastian Bach 8033:Prelude, Fugue and Allegro in E 7933:Toccatas, BWV 910–916 7665:Partitas, BWV 825–830 7601:Great Eighteen Chorale Preludes 7343:Walcker organ in Riga Cathedral 7291:Stauffer, George Boyer (1980). 7054:Stauffer, George Boyer (1978). 6928:The Keyboard Music of J.S. Bach 6697:xix/3:122, October 2004, 43–55. 6510:The Cambridge companion to Bach 6252:Toccata & Fugue In D Minor 5057:D-B Mus. ms. Bach p. 595] 4906:from the original on 2013-06-18 4696:from the original on 2009-02-20 4650:"Harpsichord Concertos" pp. 6–7 4299:from the original on 2021-09-28 4261:from the original on 2018-06-16 4001:from the original on 2015-09-10 3578: 3414: 3392: 3354: 3341:Leipzig: Friedrich Hofmeister. 3321: 3296: 3277: 3258: 3249: 3230: 3211: 3180: 3171: 3162: 3159:The Aeolian Company (recording) 3153: 3144: 3135: 3117: 3098: 3089: 3076: 3045: 3036: 3027: 3008: 2999: 2980: 2961: 2942: 2933: 2924: 2915: 2899: 2883: 2862: 2850: 2841: 2830:from the original on 2017-10-13 2816: 2804: 2792: 2777: 2768: 2759: 2750: 2741: 2732: 2723: 2714: 2705: 2693: 2657: 2580:Marshall, Robert Lewis (2003). 2536: 2459:from the original on 2021-09-28 2434:The Cambridge Companion to Bach 2424: 2367: 2355: 2286: 2265: 2189: 2105:from the original on 2021-09-28 1924: 1402:, as arranged and performed by 713:) in the 1940 Walt Disney film 525:structure with a free opening ( 451:D minor: usual notation with a 7247:. Cambridge University Press. 7058:(thesis). Columbia University. 6905:L'orgue de Jean-Sébastien Bach 6825:Kranenburg, Peter van (2007). 6807:Kranenburg, Peter van (2006). 5456:Toccata con Fuga in d BWV 565 5071:pedaliter ex d # di J. S. Bach 4059:University of California Press 3055:The American Record Label Book 2081: 2039:Retrieved 6 November 2020. 2024: 1856:, #5 on UK Singles Chart) and 1836:wrote a poem about the piece, 1827: 1516:. The 1962 film adaptation of 1178:In books on Bach's organ works 679: 628:The subject of the four-voice 415:from Ringk's (possibly in the 1: 8402:Pomp and Circumstance Marches 7169:The Organ Music of J. S. Bach 7132:The Organ Music of J. S. Bach 6948:J. S. Bach, le musicien-poète 6581:Claus, Rolf Dietrich (2018). 6528:Claus, Rolf Dietrich (1998). 6216: 5971:Toccata (2:28), Fugue (5:54) 5921:Europe (14 different organs) 5765:Red Seal "Electric" recording 5582: 5144: 5111:Griepenkerl, Friedrich Konrad 5033: 4967:Doyle, Lucy (12 March 2017). 4748:"Rachel Podger on Tutta Sola" 4184:"Il était une fois...l'Homme" 2443:10.1017/CCOL9780521587808.008 1931: 1903: 925:In the 1950s, a recording of 596:Oberlin Conservatory of Music 199:, who edited BWV 565 for the 8300:Toccata and Fugue in D minor 8176: 7922:Chromatic Fantasia and Fugue 7378:Toccata and fugue in D minor 7138:Cambridge University Press. 7067:. Indiana University Press. 6689:Fox-Lefriche, Bruce (2004). 5795:Albert Schweitzer plays Bach 5698:Two 78 rpm disc sides: 5490:Toccata and Fugue in D Minor 5415:Toccata and Fugue in D Minor 5299:Toccata in D moll (pp. 2–17) 5205:Toccata II (pp. 267–75) 4317:De Rosa, Alessandro (2019). 4279:Tornatore, Giuseppe (2018). 4027:University of Illinois Press 2987:Wolfgang Rübsam – Recordings 1909: 1824:, with the same of BWV 565. 1493:20,000 Leagues Under the Sea 1156:In his 1999 Bach biography, 1083:Toccata and Fugue in F major 998:Edison Bell Velvet Face (VF) 920:Columbia Graphophone Company 759:), and by others (including 703: 545:and ornamented with a lower 516: 85:Toccata and Fugue in D minor 7: 8389:The Carnival of the Animals 8235:(1982 digital re-recording) 8046:Prelude in C minor, BWV 999 7579:Concertos, BWV 592–597 7130:Williams, Peter F. (1980). 6925:Schulenberg, David (2006). 6843:replaced by Kranenburg 2008 6744:The D Minor Toccata BWV 565 6676:Emery, Walter (July 1966). 6336: 5962:Bach: Great Organ Favorites 5389:Toccata and Fugue (D minor) 5265:Toccata und Fuge (pp. 2–21) 4769:"Zu einer Toccata von Bach" 4411:Humphreys 1982, pp. 216–217 4214:Sciannameo, Franco (2020). 4131:Suzanne van Kempen (2009). 3710:Bach, J. S. (arr. Melichar) 2868:Schweitzer 1935 (recording) 2847:Cunningham 1926 (recording) 2283:Schweitzer 1951 (recording) 1429:had previously used Bach's 1204:The Organ Music of J.S.Bach 1114:Prelude in A minor, BWV 922 871:Performances and recordings 10: 8762: 8364:Symphony No. 5 (Beethoven) 8326:Symphony No. 6 (Beethoven) 8270:Chicago Symphony Orchestra 8096:Klavierbüchlein W. F. Bach 8053:Fugue in G minor, BWV 1000 7953:Harpsichord solo concertos 6991:London: A. & C. Black. 6515:Cambridge University Press 5645:Bloomfield Zeisler, Fannie 4989: 4372:, p. 14 and elsewhere 4237:Cambridge University Press 3886:Indiana University Press. 3879:David P. Neumeyer (2015). 3327:C. L. Hilgenfeldt (1850). 2678:Stokowski 1927 (recording) 1917: 1880:, then trumpet player for 1431:Third Brandenburg Concerto 1416:, as released in 1950, at 1342: 977:. Some musicians, such as 912:Salt Lake Tabernacle organ 536: 178: 91:565, is a composition for 18: 8671: 8628:The Sorcerer's Apprentice 8567: 8535: 8449: 8421: 8396:The Sorcerer's Apprentice 8354: 8313:The Sorcerer's Apprentice 8290: 8283: 8252: 8215: 8186: 8121: 8062: 8026:Suite in C minor, BWV 997 8011:Suite in E minor, BWV 996 8006:Suite in G minor, BWV 995 7998: 7642: 7459: 7110:Stinson, Russell (2012). 7088:Oxford University Press. 7081:Stinson, Russell (2006). 6763:Oxford University Press. 6742:Humphreys, David (1982). 6486:Bullivant, Roger (1971). 6255: 6124:Collégiale de Saint-Donat 5610: 5607: 5604: 5601: 5598: 5595: 5592: 5448:, Series IV: Organ Works 5187:Bach-Gesellschaft-Ausgabe 5104:No. 9 Toccata (pp. 12–19) 5022: 5019: 5016: 5013: 5010: 5007: 5004: 4486:(version 2a). Wiesbaden: 4245:10.1017/9781316146781.018 4053:Barrier, Michael (2007). 2949:Jean Guillou – Recordings 1839:Zu einer Toccata von Bach 1444:The Sorcerer's Apprentice 1392: 1387: 1107:Fugue in G minor, BWV 578 765:Johann Heinrich Buttstett 511:Johann Heinrich Buttstett 497:) and south German (e.g. 463:Toccata, Adagio and Fugue 421:Johann Friedrich Agricola 117:north German organ school 8076:: Prelude and Fugue in E 7610:Sei gegrüßet, Jesu gütig 7382:Netherlands Bach Society 7335:Free download of BWV 565 7243:Yearsley, David (2012). 7024:Erster Band (Book I–IV). 6872:Newman, Anthony (1995). 6739:Vol. 38 pp. 240–42. 6439:Originally published in 5900:J. S. Bach: Organ Music 5786:All Hallows-by-the-Tower 5134:No. 4 (pp. 24 ff.) 4994: 3981:(2012). "Introduction". 3921:Huckvale, David (2010). 3369:Vol. 2, Anh. II, p. cxii 3293:ff. at bach-cantatas.com 3177:Novello 1926 (recording) 2968:Lionel Rogg – Recordings 2542:Theodore Gracyk (2013). 1519:The Phantom of the Opera 623: 551:diminished seventh chord 30:Beginning of BWV 565 in 8736:Compositions in D minor 8474:Fantasia: Music Evolved 7941:, BWV 933–938 7197:Oxford University Press 7119:Oxford University Press 6724:The Organ Works of Bach 6535:Cologne: Dohr, 2nd ed. 5342:Hull, Arthur Eaglefield 5194:Orgelwerke, Band 1 4323:Oxford University Press 3957:edited by Neil Lerner. 3636:Stauffer & May 1986 3052:Rust, Brian A. (1984). 2880:Walcha 1947 (recording) 2640:Keller 1948, pp. 64 ff. 2407:Stokowski and the Organ 2304:Walcha 1963 (recording) 2204:Stauffer & May 1986 2089:"Kellner, Johann Peter" 1532:Once Upon a Time... Man 1362:Dr. Jekyll and Mr. Hyde 1337:Stanisław Skrowaczewski 655: 632:is made up entirely of 8731:Compositions for organ 8339:Night on Bald Mountain 8260:Philadelphia Orchestra 8111:Twelve Little Preludes 7276:(September 28, 2021). 7028:Breitkopf & Härtel 6975:Breitkopf & Härtel 6958:Breitkopf & Härtel 6754:Jones, Richard Douglas 6700:Glaus, Daniel (2013). 6490:. London: Hutchinson. 6385:(1872): 16–20, 22–23. 6283:University of Michigan 6186:Toccata: Adagio (2:31) 5985:Grote Sint Laurenskerk 5958:Bach: Organ Favorites 5950:Busch-Reisinger Museum 5811:Philadelphia Orchestra 5746:Philadelphia Orchestra 5618:between 1902 and 1915 5509:Breitkopf & Härtel 5424:(Duration: 9 minutes) 5283:Breitkopf & Härtel 5212:Bridge, John Frederick 5182:Breitkopf & Härtel 5089:Breitkopf & Härtel 5061:Fascicle 8 (pp. 57–64) 4488:Breitkopf & Härtel 4483:Bach Werke Verzeichnis 4420:Stephan Emele (2000). 4107:Eagan, Daniel (2010). 3992:Breitkopf & Härtel 3769:Stokowski 1952 (score) 3305:(1802), translated by 3303:Johann Nikolaus Forkel 2930:Biggs 1955 (recording) 2856:Quoted in Glaus 2013, 2654:Kranenburg 2010, p. 88 2411:Pendragon Press, 2004 2292:Biggs 1960 (recording) 2271:Alain 1982 (recording) 1838: 1745: 1737: 1716: 1670:Trill in bars 86 to 90 1641:Bach Werke Verzeichnis 1544:For a Few Dollars More 1410:for the soundtrack of 1408:Philadelphia Orchestra 1382: 1302:Philadelphia Orchestra 1270:Philadelphia Orchestra 1227: 1210:J. S. Bach as Organist 1135: 1073:'s early 19th-century 1071:Johann Nikolaus Forkel 1009: 963: 880: 865:Breitkopf & Härtel 831:Bach-Werke-Verzeichnis 580:Opening of the toccata 458: 444: 411: 403: 205:Breitkopf & Härtel 142:'s 1940 animated film 107:section followed by a 45: 35: 8726:18th century in music 8588:Mickey's PhilharMagic 8458:Sorcerer's Apprentice 7452:Johann Sebastian Bach 7019:Johann Sebastian Bach 6922:New York: G. Schirmer 6686:, Vol. 107, No. 1481. 6459:The Musical Quarterly 6325:audio file available 5237:No. 1 (pp. 2–9) 5078:Marx, Adolph Bernhard 4672:Williams 1981, p. 337 4659:in booklet notes for 4636:Williams 1981, p. 336 4156:The Musical Quarterly 3938:Brown, Julie (2009). 3903:Lerner, Neil (2010). 3854:24 April 2016 at the 3845:New York Philharmonic 3668:24 April 2016 at the 3367:. Berlin: Schneider. 3365:Johann Sebastian Bach 3307:Charles Sanford Terry 3255:Friedman 1944 (score) 2352:, Introduction, p. 20 2196:Krummacher, Friedhelm 2186:Williams 1981, p. 331 2101:; et al. 2020-06-19. 1743: 1735: 1721:Richard Douglas Jones 1712: 1551:. Morricone used the 1377: 1226: 1130: 1065:In Bach's biographies 996: 958: 878: 829:After 1950, when the 450: 438: 409: 397: 97:Johann Sebastian Bach 44: 29: 8621:The Little Matchgirl 8515:Disney Magical World 8306:The Nutcracker Suite 7625:, BWV 1090–1120 7476:Sonatas, BWV 525–530 6862:Utrecht University. 6454:"J. S. Bach's Youth" 6086:Whiteley, John Scott 5966:Hans-Joachim Schulze 5498:Zehnder, Jean-Claude 5338:Best, William Thomas 5306:Widor, Charles-Marie 5131:Vol. IV (plate 243) 5114:Roitzsch, Ferdinand 5045:Berlin State Library 5005:Version provided by 4517:Toccata in d BWV 565 4456:Kranenburg 2007/2008 4355:Vol. 84, pp. 755–759 3979:Zehnder, Jean-Claude 3835:at bach-cantatas.com 3788:at bach-cantatas.com 3700:at bach-cantatas.com 3274:at bach-cantatas.com 3246:at bach-cantatas.com 3227:at bach-cantatas.com 3132:. Hamburg: D. Rahter 3114:at bach-cantatas.com 3024:at bach-cantatas.com 2996:at bach-cantatas.com 2977:at bach-cantatas.com 2958:at bach-cantatas.com 2765:Kilian 1964 (scores) 2350:Zehnder 2011 (score) 2262:Yearsley 2012, p. 93 1973:Zehnder 2011 (score) 1876:. In the mid-1990s, 1814:harpsichord toccatas 1651:Attribution question 1647:mention any doubts. 1629:statistical analysis 1569:deconsecrated church 1500:on the organ of the 954:Hans-Joachim Schulze 802:In the early 1910s, 529:), a fugal section ( 491:German organ schools 214:Johann Peter Kellner 189:Berlin State Library 8499:Dream Drop Distance 8103:Notebook A. M. Bach 7959:Goldberg Variations 7939:Six Little Preludes 7623:Neumeister chorales 7044:Vol. I (Book I–III) 6954:Charles Marie Widor 6909:Paris: Fischbacher. 6876:. Pendragon Press. 6852:Utrecht University. 6545:review by Yo Tomita 6177:Deutsche Grammophon 6116:Alain, Marie-Claire 6071:Deutsche Grammophon 6013:Alain, Marie-Claire 5991:Deutsche Grammophon 5932:Royal Festival Hall 5863:Deutsche Grammophon 5850:Church of St. Jacob 5625:The Aeolian Company 5589: 5001: 4936:on 16 February 2005 4855:.salvatoresciarrino 4239:. pp. 76–280. 4082:Elie, Paul (2013). 4029:. pp. 183–97. 3496:, Volume 1 (of 2): 3399:Reginald Lane Poole 3361:Karl Hermann Bitter 3141:Busoni 1899 (score) 2729:Bridge 1886 (score) 2202:", pp. 157–171, in 2128:Kilian 1964 (score) 1866:Salvatore Sciarrino 1790:violoncello piccolo 1696:Cambridge Companion 1645:Bach Archiv Leipzig 1637:Jean-Claude Zehnder 1633:Johann Ludwig Krebs 1557:"La resa dei conti" 1118:Reginald Lane Poole 1087:Karl Hermann Bitter 931:Deutsche Grammophon 824:William Thomas Best 808:Charles-Marie Widor 755:and several of the 503:stylus phantasticus 495:Dieterich Buxtehude 209:Jean-Claude Zehnder 167:. Scholars such as 8636:Once Upon a Studio 8558:Allegro Non Troppo 8408:The Firebird Suite 8332:Dance of the Hours 8320:The Rite of Spring 7603:, BWV 651–668 7595:, BWV 645–650 7587:, BWV 599–644 7441:Compositions for 6995:Schweitzer, Albert 6981:Schweitzer, Albert 6964:Schweitzer, Albert 6943:Schweitzer, Albert 6550:2015-08-24 at the 6472:10.1093/mq/LIV.1.1 6442:Die Musikforschung 6407:Billeter, Bernhard 6208:Brilliant Classics 6104:21st-Century Bach 6058:Jaegersborg Church 6021:Sankta Maria kyrka 5884:Schweitzer, Albert 5807:Stokowski, Leopold 5778:Schweitzer, Albert 5742:Stokowski, Leopold 5725:His Master's Voice 5587: 5420:2008-04-06 at the 5396:Stokowski, Leopold 5381:Allans Publishing 5310:Schweitzer, Albert 4999: 4874:2016-04-22 at the 4846:2016-04-22 at the 4774:2016-03-04 at the 4655:2015-09-22 at the 4607:Schulenberg 2006, 4522:2016-03-04 at the 4504:2016-01-23 at the 4427:2016-03-04 at the 4325:. pp. 27–30. 4282:Ennio – Un maestro 4161::3/4 pp. 240–274, 3994:. pp. 16–24. 3949:2017-10-26 at the 3831:2015-09-05 at the 3803:2016-01-31 at the 3784:2015-09-06 at the 3756:.pristineclassical 3747:2016-03-02 at the 3715:2016-03-04 at the 3696:2015-06-02 at the 3528:2020-08-03 at the 3506:2020-08-03 at the 3374:2016-08-09 at the 3348:2016-03-05 at the 3337:2017-12-22 at the 3289:2015-09-05 at the 3270:2007-09-30 at the 3242:2015-09-05 at the 3223:2015-09-05 at the 3196:2021-09-28 at the 3110:2015-09-05 at the 3042:Kibbie (recording) 3020:2015-08-22 at the 2992:2015-09-27 at the 2973:2015-09-05 at the 2954:2015-09-05 at the 2921:Alain (recordings) 2611:Vol. I pp. 434–435 2379:2016-03-04 at the 2240:Vol. I pp. 403–404 2219:Vol. I pp. 402–403 1982:2021-05-03 at the 1801:on her 2022 album 1746: 1738: 1625:Wilhelm Friedemann 1565:Gian Maria Volonté 1383: 1365:and the 1934 film 1228: 1098:his Bach biography 1010: 1004:'s performance of 989:Piano arrangements 944:Marie-Claire Alain 881: 806:collaborated with 660:A multi-sectional 636:, with an implied 459: 445: 412: 404: 46: 36: 8691: 8690: 8531: 8530: 8417: 8416: 8223:Leopold Stokowski 8144: 8143: 8074:Clavier-Übung III 8019: 7975: 7968: 7913: 7911:No. 24 in B minor 7906: 7893: 7880: 7867: 7865:No. 12 in F minor 7860: 7853: 7846: 7833: 7820: 7813: 7801: 7788: 7775: 7773:No. 16 in G minor 7768: 7766:No. 10 in E minor 7761: 7748: 7735: 7722: 7715: 7687: 7680: 7673: 7630:Chorale fantasia 7593:Schübler Chorales 7555: 7536: 7472: 7447:keyboard and lute 7386:Leo van Doeselaar 6930:, second edition. 6683:The Musical Times 6415:Sackmann, Dominik 6378:The Musical Times 6347:The Musical Times 6334: 6333: 6288:Bach Organ Works 5868:Archiv Produktion 5711:Cunningham, G. D. 5638:tempo 70; 28,5 cm 5580: 5579: 5365:pp. 271 ff. 5272:Busoni, Ferruccio 4725:Fox-Lefriche 2004 4716:. BBC MM89, 1999. 4627:Jones 2007 p. 160 3942:Carnival of Souls 3458:Schweitzer 1908, 3420:Schweitzer 1905, 3388:Vol. I pp. 429–31 3086:(in Dörffel 1884) 2756:Best 1914 (score) 2720:Rust 1867 (score) 2513:Schweitzer 1935, 2253:Newman 1995, 181. 1567:takes place in a 1423: 1422: 1404:Leopold Stokowski 1298:Leopold Stokowski 1263: 1244: 1075:biography of Bach 935:Archiv Produktion 908:John J. McClellan 804:Albert Schweitzer 793:Bach Gesellschaft 781:Felix Mendelssohn 711:Leopold Stokowski 606: 605: 589: 475:Prelude and Fugue 429:Felix Mendelssohn 425:Johann Kirnberger 150:Leopold Stokowski 136:Felix Mendelssohn 61: 8753: 8708: 8707: 8706: 8699: 8680: 8679: 8643:Once Upon a Time 8544:A Corny Concerto 8481: 8480: 8377:Rhapsody in Blue 8288: 8287: 8171: 8164: 8157: 8148: 8147: 8114: 8105: 8098: 8091: 8084: 8081: 8080: 8055: 8048: 8041: 8038: 8037: 8028: 8015: 7971: 7964: 7947:Italian Concerto 7909: 7903: 7902: 7896: 7890: 7889: 7883: 7877: 7876: 7870: 7863: 7858:No. 6 in D minor 7856: 7851:No. 5 in D major 7849: 7843: 7842: 7836: 7830: 7829: 7823: 7818:No. 2 in C minor 7816: 7811:No. 1 in C major 7809: 7798: 7797: 7791: 7785: 7784: 7778: 7771: 7764: 7758: 7757: 7751: 7745: 7744: 7738: 7732: 7731: 7725: 7720:No. 2 in C minor 7718: 7713:No. 1 in C major 7711: 7683: 7676: 7669: 7608:Chorale partita 7553: 7534: 7470: 7454: 7435: 7428: 7421: 7412: 7411: 7360:Video recordings 7329:Audio recordings 7318:Free sheet music 7287: 7227:Wolff, Christoph 7210:Wolff, Christoph 7187:Wolff, Christoph 7183: 7078: 7059: 7048:Novello & Co 6788:Kilian, Dietrich 6737:Musik und Kirche 6730:Novello & Co 6640: 6596: 6577: 6501: 6482: 6480: 6478: 6452:(January 1968). 6450:Blume, Friedrich 6438: 6402: 6371: 6360:10.2307/30044126 6326: 6323: 6275:, Waltershausen 6274: 6247:Switched-On Bach 6225:Nos. 1–2 (8:54) 6221: 6218: 6172: 6132: 6066: 6029: 5858: 5819:Academy of Music 5754:Academy of Music 5735:78 rpm disc 5590: 5586: 5572: 5569: 5550: 5547: 5492: 5469: 5446:New Bach Edition 5430:Kilian, Dietrich 5406:Broude Brothers 5227:Novello & Co 5149: 5146: 5070: 5068:Toccata Con Fuga 5038: 5037: 1740–1760 5035: 5002: 4998: 4984: 4983: 4981: 4979: 4964: 4958: 4952: 4946: 4945: 4943: 4941: 4932:. Archived from 4921: 4915: 4914: 4912: 4911: 4896: 4890: 4889: 4886: 4884: 4883:.prestoclassical 4882: 4866: 4860: 4859: 4856: 4854: 4838: 4832: 4831: 4824: 4818: 4817: 4815: 4813: 4794: 4788: 4787: 4784: 4782: 4766: 4760: 4759: 4757: 4755: 4744: 4738: 4732: 4726: 4723: 4717: 4711: 4705: 4704: 4702: 4701: 4679: 4673: 4670: 4664: 4643: 4637: 4634: 4628: 4625: 4619: 4605: 4599: 4596: 4590: 4583: 4577: 4572: 4566: 4563: 4557: 4551: 4545: 4542: 4536: 4535: 4532: 4530: 4514: 4508: 4475: 4469: 4466: 4457: 4454: 4443: 4435:(thesis). Jena. 4418: 4412: 4409: 4403: 4397: 4388: 4382: 4373: 4367: 4356: 4347: 4338: 4336: 4314: 4308: 4307: 4305: 4304: 4276: 4270: 4269: 4267: 4266: 4226: 4220: 4219: 4211: 4205: 4203: 4201: 4199: 4176: 4170: 4152: 4146: 4129: 4123: 4122: 4104: 4098: 4097: 4084:Reinventing Bach 4079: 4073: 4072: 4050: 4044: 4040: 4016: 4010: 4009: 4007: 4006: 4000: 3989: 3975: 3969: 3936: 3927: 3926: 3918: 3909: 3908: 3900: 3894: 3877: 3868: 3867: 3864: 3862: 3842: 3836: 3823: 3817: 3816: 3813: 3811: 3795: 3789: 3776: 3770: 3767: 3761: 3760: 3757: 3755: 3739: 3733: 3732: 3729: 3727: 3725: 3723: 3707: 3701: 3688: 3682: 3681: 3678: 3676: 3656: 3650: 3644: 3638: 3632: 3626: 3623: 3617: 3611: 3600: 3594: 3588: 3582: 3576: 3570: 3564: 3558: 3549: 3543: 3532: 3487: 3478: 3468: 3462: 3456: 3450: 3433: 3424: 3418: 3412: 3396: 3390: 3384: 3378: 3358: 3352: 3325: 3319: 3300: 3294: 3281: 3275: 3262: 3256: 3253: 3247: 3234: 3228: 3215: 3209: 3184: 3178: 3175: 3169: 3166: 3160: 3157: 3151: 3148: 3142: 3139: 3133: 3121: 3115: 3102: 3096: 3093: 3087: 3080: 3074: 3073: 3049: 3043: 3040: 3034: 3031: 3025: 3012: 3006: 3003: 2997: 2984: 2978: 2965: 2959: 2946: 2940: 2937: 2931: 2928: 2922: 2919: 2913: 2910:Internet Archive 2903: 2897: 2894:Internet Archive 2887: 2881: 2878: 2869: 2866: 2860: 2854: 2848: 2845: 2839: 2838: 2836: 2835: 2820: 2814: 2808: 2802: 2796: 2790: 2786:: Scores at the 2781: 2775: 2772: 2766: 2763: 2757: 2754: 2748: 2745: 2739: 2736: 2730: 2727: 2721: 2718: 2712: 2709: 2703: 2697: 2691: 2688: 2679: 2676: 2667: 2661: 2655: 2652: 2641: 2638: 2627: 2622: 2613: 2607: 2596: 2578: 2569: 2563: 2557: 2540: 2534: 2528: 2517: 2511: 2502: 2499: 2486: 2483: 2468: 2467: 2465: 2464: 2428: 2422: 2402: 2391: 2390: 2387: 2371: 2365: 2359: 2353: 2347: 2324: 2318: 2305: 2302: 2293: 2290: 2284: 2281: 2272: 2269: 2263: 2260: 2254: 2251: 2242: 2236: 2221: 2215: 2206: 2201: 2193: 2187: 2184: 2178: 2172: 2131: 2125: 2114: 2113: 2111: 2110: 2085: 2079: 2073: 2060: 2050: 2041: 2040: 2028: 2022: 2017: 2002: 1996: 1987: 1970: 1953: 1943: 1862:Billboard charts 1841: 1780:. The violinist 1689: 1688: 1677:parallel octaves 1571:, turned into a 1487:Sunset Boulevard 1458:Silly Symphonies 1437:, Stokowski and 1427:Oskar Fischinger 1418:Internet Archive 1397: 1396: 1385: 1384: 1265: 1264: 1246: 1245: 1225: 1166: 1027:Ferruccio Busoni 859: 858: 852:Toccata con Fuga 844:New Bach Edition 789:Toccata con Fuga 664:follows, marked 651: 650: 591: 590: 564: 563: 499:Johann Pachelbel 456: 455: 369: 355: 341: 327: 313: 299: 284: 270: 258:Ringk manuscript 244: 243: 225:Toccata con Fuga 201:New Bach Edition 101:organ repertoire 63: 62: 43: 8761: 8760: 8756: 8755: 8754: 8752: 8751: 8750: 8716: 8715: 8714: 8710:Classical Music 8704: 8702: 8694: 8692: 8687: 8667: 8563: 8527: 8522:Disney Infinity 8479: 8445: 8413: 8350: 8279: 8248: 8211: 8182: 8175: 8145: 8140: 8117: 8108: 8101: 8094: 8087: 8078: 8077: 8071: 8064: 8058: 8051: 8044: 8035: 8034: 8031: 8024: 7994: 7973:Gould recording 7900: 7899: 7887: 7886: 7874: 7873: 7840: 7839: 7827: 7826: 7795: 7794: 7782: 7781: 7755: 7754: 7742: 7741: 7729: 7728: 7638: 7455: 7450: 7439: 7371:Voices of Music 7341:on the 1882–83 7309: 7272: 7262: 7260:Further reading 7257: 7180: 7160:Williams, Peter 7075: 6774:Keller, Hermann 6750:Vol. 10, No. 2. 6637: 6605:Dörffel, Alfred 6593: 6574: 6552:Wayback Machine 6498: 6476: 6474: 6435: 6391:10.2307/1004394 6354:(1893): 77–86. 6339: 6330: 6329: 6324: 6315: 6279:Block M Records 6268: 6219: 6187: 6166: 6164:Kreuzbergkirche 6150:BWV 565 (8:15) 6126: 6060: 6023: 6007:had been 6:52) 5942:Biggs, E. Power 5914:Biggs, E. Power 5852: 5821:, Philadelphia 5809: 5756:, Philadelphia 5744: 5680: 5585: 5576: 5575: 5570: 5553: 5548: 5535: 5483:Brass Ensemble 5465: 5464: 5422:Wayback Machine 5371:Friedman, Ignaz 5340: 5308: 5214: 5147: 5113: 5066: 5036: 5029:Ringk, Johannes 4997: 4992: 4987: 4977: 4975: 4965: 4961: 4953: 4949: 4939: 4937: 4922: 4918: 4909: 4907: 4898: 4897: 4893: 4879: 4876:Wayback Machine 4867: 4863: 4851: 4848:Wayback Machine 4839: 4835: 4826: 4825: 4821: 4811: 4809: 4796: 4795: 4791: 4779: 4776:Wayback Machine 4767: 4763: 4753: 4751: 4746: 4745: 4741: 4735:Altschuler 2005 4733: 4729: 4724: 4720: 4712: 4708: 4699: 4697: 4680: 4676: 4671: 4667: 4657:Wayback Machine 4644: 4640: 4635: 4631: 4626: 4622: 4606: 4602: 4597: 4593: 4584: 4580: 4573: 4569: 4564: 4560: 4552: 4548: 4543: 4539: 4527: 4524:Wayback Machine 4515: 4511: 4506:Wayback Machine 4476: 4472: 4468:Kranenburg 2006 4467: 4460: 4455: 4446: 4429:Wayback Machine 4419: 4415: 4410: 4406: 4398: 4391: 4383: 4376: 4368: 4359: 4352:Musical Opinion 4348: 4341: 4333: 4315: 4311: 4302: 4300: 4293: 4277: 4273: 4264: 4262: 4255: 4227: 4223: 4212: 4208: 4204:generic episode 4197: 4195: 4180:Legrand, Michel 4177: 4173: 4153: 4149: 4130: 4126: 4119: 4105: 4101: 4094: 4086:. Aurum Press. 4080: 4076: 4069: 4051: 4047: 4037: 4017: 4013: 4004: 4002: 3998: 3987: 3976: 3972: 3951:Wayback Machine 3937: 3930: 3919: 3912: 3901: 3897: 3878: 3871: 3859: 3856:Wayback Machine 3843: 3839: 3833:Wayback Machine 3824: 3820: 3808: 3805:Wayback Machine 3796: 3792: 3786:Wayback Machine 3777: 3773: 3768: 3764: 3752: 3749:Wayback Machine 3740: 3736: 3720: 3717:Wayback Machine 3708: 3704: 3698:Wayback Machine 3689: 3685: 3673: 3670:Wayback Machine 3657: 3653: 3645: 3641: 3633: 3629: 3624: 3620: 3613:Williams 1980, 3612: 3603: 3595: 3591: 3583: 3579: 3571: 3567: 3559: 3552: 3544: 3535: 3530:Wayback Machine 3508:Wayback Machine 3488: 3481: 3469: 3465: 3457: 3453: 3434: 3427: 3419: 3415: 3397: 3393: 3385: 3381: 3376:Wayback Machine 3359: 3355: 3350:Wayback Machine 3339:Wayback Machine 3326: 3322: 3301: 3297: 3291:Wayback Machine 3282: 3278: 3272:Wayback Machine 3263: 3259: 3254: 3250: 3244:Wayback Machine 3235: 3231: 3225:Wayback Machine 3216: 3212: 3198:Wayback Machine 3185: 3181: 3176: 3172: 3167: 3163: 3158: 3154: 3149: 3145: 3140: 3136: 3122: 3118: 3112:Wayback Machine 3103: 3099: 3094: 3090: 3081: 3077: 3070: 3050: 3046: 3041: 3037: 3032: 3028: 3022:Wayback Machine 3013: 3009: 3004: 3000: 2994:Wayback Machine 2985: 2981: 2975:Wayback Machine 2966: 2962: 2956:Wayback Machine 2947: 2943: 2938: 2934: 2929: 2925: 2920: 2916: 2904: 2900: 2888: 2884: 2879: 2872: 2867: 2863: 2855: 2851: 2846: 2842: 2833: 2831: 2822: 2821: 2817: 2809: 2805: 2797: 2793: 2782: 2778: 2773: 2769: 2764: 2760: 2755: 2751: 2746: 2742: 2738:Schweitzer 1995 2737: 2733: 2728: 2724: 2719: 2715: 2710: 2706: 2698: 2694: 2689: 2682: 2677: 2670: 2662: 2658: 2653: 2644: 2639: 2630: 2623: 2616: 2608: 2599: 2579: 2572: 2564: 2560: 2541: 2537: 2529: 2520: 2512: 2505: 2500: 2489: 2484: 2471: 2462: 2460: 2453: 2429: 2425: 2403: 2394: 2384: 2381:Wayback Machine 2372: 2368: 2360: 2356: 2348: 2327: 2319: 2308: 2303: 2296: 2291: 2287: 2282: 2275: 2270: 2266: 2261: 2257: 2252: 2245: 2237: 2224: 2216: 2209: 2199: 2194: 2190: 2185: 2181: 2173: 2134: 2126: 2117: 2108: 2106: 2087: 2086: 2082: 2074: 2063: 2051: 2044: 2038: 2029: 2025: 2018: 2005: 1997: 1990: 1984:Wayback Machine 1971: 1956: 1944: 1940: 1912:section below: 1906: 1830: 1730: 1686: 1685: 1658:Friedrich Blume 1653: 1589: 1539:Ennio Morricone 1394: 1345: 1333:Lucien Cailliet 1325:Fabien Sevitzky 1287: 1286: 1278: 1276: 1275: 1274: 1273: 1266: 1258: 1255: 1249: 1248: 1247: 1239: 1236: 1229: 1223: 1218: 1180: 1172:Christoph Wolff 1160: 1067: 991: 975:Wolfgang Rübsam 889:Robert Schumann 873: 856: 855: 848:Dietrich Kilian 842:. In 1964, the 816:First World War 777: 761:Nicolaus Bruhns 706: 682: 658: 648: 647: 634:sixteenth notes 626: 602: 601: 600: 599: 598: 592: 585: 582: 571: 570: 539: 519: 453: 452: 380: 379: 378: 375: 370: 361: 356: 347: 342: 333: 328: 319: 314: 302: 301: 300: 297: 294: 293: 290: 285: 276: 271: 260: 259: 241: 240: 197:Dietrich Kilian 181: 173:Christoph Wolff 111:that ends in a 81: 80: 72: 70: 69: 68: 67: 64: 57: 54: 47: 41: 24: 17: 12: 11: 5: 8759: 8749: 8748: 8743: 8738: 8733: 8728: 8713: 8712: 8689: 8688: 8686: 8685: 8672: 8669: 8668: 8666: 8665: 8660: 8653: 8652: 8651: 8639: 8632: 8624: 8617: 8610: 8603: 8596: 8591: 8584: 8582:Sorcerer's Hat 8579: 8571: 8569: 8565: 8564: 8562: 8561: 8554: 8547: 8539: 8537: 8533: 8532: 8529: 8528: 8526: 8525: 8518: 8511: 8504: 8503: 8502: 8492:Kingdom Hearts 8487: 8485: 8478: 8477: 8470: 8462: 8453: 8451: 8447: 8446: 8444: 8443: 8438: 8433: 8427: 8425: 8419: 8418: 8415: 8414: 8412: 8411: 8404: 8399: 8392: 8385: 8380: 8373: 8366: 8360: 8358: 8352: 8351: 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7415: 7409: 7408: 7402: 7390: 7389: 7375: 7357: 7356: 7346: 7339:Frederik Magle 7326: 7325: 7308: 7307:External links 7305: 7304: 7303: 7301:978-0835711173 7289: 7274:Dunning, Brian 7270: 7267:Organ Yearbook 7261: 7258: 7256: 7255: 7253:978-0521199018 7241: 7239:978-1890600037 7224: 7222:978-3761815854 7207: 7184: 7179:978-0521814164 7178: 7156: 7155:Vol. 9, No. 3. 7147: 7144:978-0521217231 7128: 7126:978-0199917235 7108: 7105:978-0199747030 7094:978-0195346862 7079: 7074:978-0253331816 7073: 7060: 7051: 7034:Philipp Spitta 7031: 7014:Philipp Spitta 7011: 7009:978-3487416977 6992: 6978: 6961: 6940: 6938:978-0415974004 6923: 6910: 6897: 6884: 6882:978-0945193647 6870: 6868:978-9039353936 6853: 6846: 6839:978-0936943176 6823: 6805: 6785: 6771: 6751: 6740: 6733: 6716: 6714:978-3258077796 6698: 6687: 6674: 6672:978-3484970786 6658: 6656:978-3826028045 6641: 6635: 6615: 6602: 6592:978-0956710260 6591: 6578: 6573:978-3925366789 6572: 6555: 6541:978-3925366550 6526: 6523:978-0521587808 6502: 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Power Biggs 916:Salt Lake City 872: 869: 787:published the 776: 775:Score editions 773: 705: 702: 681: 678: 674:plagal cadence 657: 654: 625: 622: 604: 603: 593: 583: 578: 577: 576: 575: 574: 572: 567: 538: 535: 518: 515: 377: 376: 371: 364: 362: 357: 350: 348: 343: 336: 334: 329: 322: 320: 315: 308: 305: 304: 303: 296: 295: 292: 291: 286: 279: 277: 272: 265: 262: 261: 257: 256: 255: 185:Johannes Ringk 180: 177: 169:Peter Williams 165:absolute music 148:that featured 128:Johannes Ringk 71: 65: 55: 50: 49: 48: 39: 38: 37: 32:Johannes Ringk 15: 9: 6: 4: 3: 2: 8758: 8747: 8744: 8742: 8739: 8737: 8734: 8732: 8729: 8727: 8724: 8723: 8721: 8711: 8701: 8700: 8697: 8684: 8683: 8674: 8673: 8670: 8664: 8661: 8659: 8658: 8654: 8650: 8647: 8646: 8645: 8644: 8640: 8638: 8637: 8633: 8630: 8629: 8625: 8623: 8622: 8618: 8616: 8615: 8611: 8609: 8608: 8604: 8602: 8601: 8597: 8595: 8592: 8590: 8589: 8585: 8583: 8580: 8578: 8577: 8573: 8572: 8570: 8566: 8560: 8559: 8555: 8553: 8552: 8548: 8546: 8545: 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5920: 5917: 5915: 5912: 5911: 5905: 5902: 5899: 5896: 5893: 5890: 5887: 5885: 5882: 5881: 5878:No. 4 (9:15) 5875: 5872: 5869: 5866: 5864: 5861: 5856: 5851: 5848: 5843: 5840: 5839: 5832: 5829: 5826: 5823: 5820: 5817: 5812: 5808: 5805: 5804: 5801:No. 6 (9:04) 5798: 5796: 5793: 5790: 5787: 5784: 5781: 5779: 5776: 5775: 5768: 5766: 5763: 5761: 5758: 5755: 5752: 5747: 5743: 5740: 5739: 5736: 5730: 5728: 5726: 5723: 5720: 5719:Kingsway Hall 5717: 5714: 5712: 5709: 5708: 5705: 5701: 5694: 5691: 5689: 5686: 5683: 5678: 5676: 5673: 5672: 5669: 5663: 5661: 5658: 5656: 5653: 5651: 5648: 5646: 5643: 5642: 5639: 5633: 5631: 5628: 5626: 5623: 5620: 5615: 5614: 5593:Performed by 5591: 5568: 5566: 5564: 5562: 5560: 5558: 5556: 5546: 5544: 5542: 5540: 5538: 5533: 5530: 5526: 5522: 5520: 5517: 5515: 5512: 5510: 5507: 5504: 5501: 5499: 5496: 5491: 5487: 5485: 5482: 5480: 5477: 5474: 5468: 5463: 5460: 5459: 5455: 5453: 5450: 5447: 5444: 5442: 5439: 5436: 5433: 5431: 5428: 5423: 5419: 5416: 5413: 5411: 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Wiesbaden: 3986: 3985: 3980: 3974: 3968: 3964: 3960: 3956: 3952: 3948: 3945: 3943: 3935: 3933: 3924: 3917: 3915: 3906: 3899: 3893: 3889: 3885: 3883: 3876: 3874: 3866: 3857: 3853: 3850: 3846: 3841: 3834: 3830: 3827: 3822: 3815: 3806: 3802: 3799: 3794: 3787: 3783: 3780: 3775: 3766: 3759: 3750: 3746: 3743: 3738: 3731: 3718: 3714: 3711: 3706: 3699: 3695: 3692: 3687: 3680: 3671: 3667: 3664: 3660: 3659:Carnegie Hall 3655: 3649: 3643: 3637: 3631: 3622: 3616: 3610: 3608: 3606: 3599: 3593: 3587: 3581: 3575: 3569: 3563: 3557: 3555: 3547: 3542: 3540: 3538: 3531: 3527: 3524: 3520: 3517: 3513: 3509: 3505: 3502: 3500: 3495: 3491: 3490:Alberto Basso 3486: 3484: 3477: 3473: 3467: 3461: 3455: 3449: 3445: 3441: 3437: 3432: 3430: 3423: 3417: 3411: 3407: 3405: 3400: 3395: 3389: 3386:Spitta 1873, 3383: 3377: 3373: 3370: 3366: 3362: 3357: 3351: 3347: 3344: 3340: 3336: 3333: 3331: 3324: 3318: 3314: 3313: 3308: 3304: 3299: 3292: 3288: 3285: 3280: 3273: 3269: 3266: 3261: 3252: 3245: 3241: 3238: 3233: 3226: 3222: 3219: 3214: 3208:, 2003, p. 5. 3207: 3203: 3199: 3195: 3192: 3188: 3183: 3174: 3165: 3156: 3150:Reger (score) 3147: 3138: 3131: 3130: 3125: 3124:Louis Brassin 3120: 3113: 3109: 3106: 3101: 3092: 3085: 3079: 3071: 3065: 3061: 3057: 3056: 3048: 3039: 3030: 3023: 3019: 3016: 3011: 3002: 2995: 2991: 2988: 2983: 2976: 2972: 2969: 2964: 2957: 2953: 2950: 2945: 2936: 2927: 2918: 2911: 2907: 2902: 2895: 2891: 2886: 2877: 2875: 2865: 2859: 2853: 2844: 2829: 2825: 2819: 2813: 2807: 2801: 2795: 2789: 2785: 2780: 2771: 2762: 2753: 2744: 2735: 2726: 2717: 2708: 2702: 2696: 2687: 2685: 2675: 2673: 2666: 2660: 2651: 2649: 2647: 2637: 2635: 2633: 2626: 2621: 2619: 2612: 2609:Spitta 1899, 2606: 2604: 2602: 2595: 2591: 2587: 2583: 2577: 2575: 2567: 2566:Stauffer 1978 2562: 2556: 2552: 2548: 2546: 2539: 2533: 2527: 2525: 2523: 2516: 2510: 2508: 2498: 2496: 2494: 2492: 2485:Williams 1981 2482: 2480: 2478: 2476: 2474: 2458: 2454: 2448: 2444: 2440: 2436: 2435: 2427: 2421: 2418: 2414: 2410: 2408: 2401: 2399: 2397: 2389: 2382: 2378: 2375: 2370: 2364: 2358: 2351: 2346: 2344: 2342: 2340: 2338: 2336: 2334: 2332: 2330: 2323: 2317: 2315: 2313: 2311: 2301: 2299: 2289: 2280: 2278: 2268: 2259: 2250: 2248: 2241: 2238:Spitta 1899, 2235: 2233: 2231: 2229: 2227: 2220: 2217:Spitta 1873, 2214: 2212: 2205: 2197: 2192: 2183: 2176: 2175:Williams 2003 2171: 2169: 2167: 2165: 2163: 2161: 2159: 2157: 2155: 2153: 2151: 2149: 2147: 2145: 2143: 2141: 2139: 2137: 2129: 2124: 2122: 2120: 2104: 2100: 2096: 2095: 2090: 2084: 2077: 2076:Billeter 2004 2072: 2070: 2068: 2066: 2058: 2054: 2053:Billeter 2004 2049: 2047: 2036: 2032: 2027: 2021: 2020:Ringk (score) 2016: 2014: 2012: 2010: 2008: 2000: 1995: 1993: 1985: 1981: 1978: 1974: 1969: 1967: 1965: 1963: 1961: 1959: 1951: 1947: 1946:Billeter 2004 1942: 1938: 1933: 1929: 1926: 1922: 1919: 1915: 1914: 1913: 1911: 1901: 1899: 1898:PRS for Music 1895: 1891: 1888:'s 1994 hit " 1887: 1883: 1879: 1875: 1871: 1867: 1863: 1859: 1855: 1853: 1848: 1843: 1840: 1835: 1834:Hermann Hesse 1825: 1823: 1819: 1815: 1811: 1806: 1804: 1800: 1799:Rachel Podger 1796: 1791: 1787: 1783: 1779: 1775: 1774:Jaap Schröder 1769: 1767: 1763: 1759: 1757: 1752: 1742: 1734: 1725: 1722: 1715: 1711: 1709: 1704: 1703:(1703–1706). 1702: 1697: 1693: 1681: 1678: 1669: 1666: 1663: 1662: 1661: 1659: 1648: 1646: 1642: 1638: 1634: 1630: 1626: 1621: 1619: 1613: 1606: 1603: 1602: 1601: 1598: 1595: 1584: 1582: 1578: 1577:Miceli (2016) 1574: 1570: 1566: 1562: 1558: 1554: 1550: 1546: 1545: 1540: 1536: 1534: 1533: 1528: 1527: 1521: 1520: 1515: 1514: 1513:La Dolce Vita 1509: 1505: 1504: 1499: 1495: 1494: 1489: 1488: 1482: 1480: 1476: 1471: 1470: 1465: 1461: 1459: 1454: 1450: 1446: 1445: 1440: 1436: 1432: 1428: 1419: 1415: 1414: 1409: 1405: 1401: 1391: 1386: 1381: 1376: 1372: 1370: 1369: 1368:The Black Cat 1364: 1363: 1358: 1354: 1350: 1340: 1338: 1334: 1330: 1326: 1322: 1317: 1315: 1311: 1307: 1306:Carnegie Hall 1303: 1299: 1294: 1292: 1285: 1283: 1271: 1254: 1235: 1213: 1211: 1207: 1205: 1201: 1196: 1193: 1188: 1184: 1175: 1173: 1169: 1164: 1159: 1154: 1151: 1150:Alberto Basso 1146: 1144: 1140: 1134: 1129: 1125: 1123: 1119: 1115: 1110: 1108: 1103: 1099: 1095: 1090: 1088: 1084: 1080: 1076: 1072: 1062: 1059: 1055: 1054:Leslie Howard 1051: 1047: 1046:Marie Novello 1043: 1038: 1036: 1032: 1031:Alfred Cortot 1028: 1024: 1023:Louis Brassin 1020: 1016: 1007: 1003: 1002:Marie Novello 999: 995: 986: 984: 980: 976: 972: 968: 962: 957: 955: 951: 949: 945: 941: 940:Classic Mania 936: 932: 928: 927:Helmut Walcha 923: 921: 917: 913: 909: 904: 902: 899:stop for the 898: 894: 890: 886: 877: 868: 866: 861: 853: 849: 845: 841: 836: 832: 827: 825: 821: 817: 813: 809: 805: 800: 798: 794: 790: 786: 782: 772: 768: 766: 762: 758: 754: 750: 746: 742: 738: 734: 730: 726: 725:program music 720: 718: 717: 712: 701: 699: 695: 691: 686: 677: 675: 671: 667: 663: 653: 652:major chord. 644: 639: 635: 631: 621: 619: 615: 611: 597: 581: 573: 566: 565: 562: 560: 556: 552: 548: 544: 534: 532: 528: 524: 514: 512: 508: 504: 500: 496: 492: 488: 486: 482: 481: 476: 472: 468: 464: 449: 442: 437: 433: 430: 426: 422: 418: 417:C. P. E. Bach 408: 401: 396: 392: 390: 386: 374: 368: 363: 360: 354: 349: 346: 340: 335: 332: 326: 321: 318: 312: 307: 306: 289: 283: 278: 275: 269: 264: 263: 254: 252: 248: 238: 234: 233:key signature 230: 226: 221: 219: 215: 210: 206: 202: 198: 194: 190: 186: 176: 174: 170: 166: 162: 158: 157:program music 153: 151: 147: 146: 141: 137: 133: 129: 124: 122: 118: 114: 110: 106: 102: 98: 94: 90: 86: 79: 77: 53: 33: 28: 22: 8675: 8663:Deems Taylor 8655: 8641: 8634: 8626: 8619: 8612: 8605: 8598: 8586: 8574: 8556: 8549: 8542: 8520: 8513: 8506: 8497: 8490: 8472: 8464: 8456: 8431:Mickey Mouse 8406: 8394: 8387: 8375: 8368: 8355: 8343: 8337: 8330: 8318: 8311: 8304: 8299: 8291: 8273: 8263: 8242: 8239:James Levine 8233:Irwin Kostal 8226: 8197: 8190: 8177: 8109: 8073: 7987: 7980: 7957: 7945: 7938: 7920: 7701: 7692: 7631: 7622: 7609: 7600: 7592: 7584: 7549: 7392: 7391: 7369: 7359: 7358: 7337:recorded by 7328: 7327: 7321: 7311: 7310: 7292: 7281: 7266: 7244: 7230: 7213: 7191: 7168: 7150: 7131: 7112: 7098:2010 edition 7083: 7064: 7055: 7037: 7017: 6999: 6984: 6968: 6947: 6927: 6917: 6913:Pirro, André 6904: 6900:Pirro, André 6891: 6873: 6857: 6830: 6812: 6792: 6782:C. F. Peters 6777: 6758: 6747: 6743: 6736: 6723: 6705: 6694: 6690: 6681: 6662: 6645: 6625:. New York: 6622: 6619:Eidam, Klaus 6609: 6582: 6563: 6559: 6530: 6509: 6487: 6475:. Retrieved 6463: 6457: 6440: 6424: 6419: 6382: 6376: 6351: 6345: 6308: 6194:Fagius, Hans 6147: 5997: 5961: 5846:August 1947 5833:CD 1 (of 2) 5827: 5692:Velvet Face 5655:Welte-Mignon 5528: 5216:Higgs, James 5193: 5155:Schlesinger 5148: 1860s 5140:Tausig, Karl 5124:C. F. Peters 5067: 5047:(facsimile) 4976:. Retrieved 4972: 4962: 4950: 4938:. Retrieved 4934:the original 4919: 4908:. Retrieved 4894: 4864: 4836: 4822: 4810:. Retrieved 4792: 4764: 4752:. Retrieved 4742: 4730: 4721: 4713: 4709: 4698:. Retrieved 4687: 4677: 4668: 4646:Peter Wollny 4641: 4632: 4623: 4603: 4594: 4581: 4570: 4561: 4549: 4540: 4512: 4481: 4478:Dürr, Alfred 4473: 4432: 4416: 4407: 4399:Emans 2009, 4384:Emans 2009, 4350: 4318: 4312: 4301:. Retrieved 4281: 4274: 4263:. Retrieved 4231: 4224: 4215: 4209: 4196:. Retrieved 4174: 4158: 4150: 4138:Peter Lang. 4133: 4127: 4108: 4102: 4083: 4077: 4054: 4048: 4021: 4014: 4003:. Retrieved 3983: 3973: 3954: 3941: 3922: 3904: 3898: 3881: 3840: 3821: 3793: 3774: 3765: 3737: 3705: 3686: 3654: 3642: 3630: 3625:Gwinner 1968 3621: 3596:Emans 2004, 3592: 3584:Pirro 1895, 3580: 3568: 3560:Wolff 2000, 3510:Turin, EDT. 3498: 3493: 3470:Parry 1909, 3466: 3454: 3439: 3416: 3403: 3394: 3382: 3364: 3356: 3329: 3323: 3311: 3298: 3279: 3260: 3251: 3232: 3213: 3201: 3182: 3173: 3164: 3155: 3146: 3137: 3127: 3119: 3100: 3091: 3078: 3054: 3047: 3038: 3033:Whiteley2001 3029: 3010: 3005:Richter 1964 3001: 2982: 2963: 2944: 2935: 2926: 2917: 2901: 2885: 2864: 2852: 2843: 2832:. Retrieved 2818: 2806: 2794: 2779: 2770: 2761: 2752: 2743: 2734: 2725: 2716: 2707: 2695: 2659: 2585: 2561: 2547:, pp. 39–40. 2544: 2538: 2530:Pirro 1902, 2461:. Retrieved 2433: 2426: 2406: 2386:onyxclassics 2369: 2357: 2320:Grace 1922, 2288: 2267: 2258: 2191: 2182: 2107:. Retrieved 2099:Bach Archive 2094:Bach Digital 2092: 2083: 2026: 1986:pp. 4–5 1977:"Commentary" 1941: 1907: 1864:). In 1993, 1851: 1844: 1831: 1807: 1802: 1782:Andrew Manze 1770: 1755: 1747: 1717: 1713: 1705: 1682: 1673: 1654: 1622: 1617: 1614: 1610: 1599: 1594:galant style 1590: 1556: 1549:Sergio Leone 1542: 1537: 1530: 1524: 1517: 1511: 1501: 1498:Captain Nemo 1491: 1485: 1483: 1478: 1467: 1464:Deems Taylor 1456: 1442: 1424: 1411: 1378:Trailer for 1366: 1360: 1346: 1318: 1295: 1291:Edward Elgar 1288: 1279: 1209: 1208: 1203: 1197: 1189: 1185: 1181: 1170: 1155: 1147: 1139:Hubert Parry 1136: 1131: 1126: 1111: 1091: 1068: 1039: 1011: 983:James Kibbie 979:Karl Richter 967:Jean Guillou 964: 959: 952: 939: 924: 905: 900: 897:glockenspiel 882: 862: 851: 828: 822:republished 801: 788: 785:C. F. Peters 778: 769: 729:galant style 721: 714: 707: 698:Harvey Grace 694:organo pleno 693: 690:registration 687: 683: 670:Molto adagio 669: 665: 659: 627: 607: 540: 523:north German 520: 489: 478: 474: 470: 466: 460: 413: 385:soprano clef 381: 224: 222: 182: 160: 154: 143: 132:Bach Revival 125: 84: 82: 73: 8508:Epic Mickey 8450:Video games 8436:Donald Duck 8065:collections 7966:discography 7898:No. 22 in B 7885:No. 18 in G 7872:No. 13 in F 7793:No. 22 in B 7780:No. 21 in B 7312:Sheet music 7152:Early Music 6956:. Leipzig: 6952:Preface by 6932:Routledge. 6802:Bärenreiter 6780:. Leipzig: 6748:Early Music 6627:Basic Books 6477:16 November 6466:(1): 1–30. 6269: [ 6266:Stadtkirche 6220: 2000 6167: [ 6127: [ 6061: [ 6024: [ 5853: [ 5750:April 1927 5688:Edison Bell 5479:Hal Leonard 5462:Mills, Fred 5441:Bärenreiter 5321:G. Schirmer 4754:11 February 4585:Butt 1997, 4386:pp. 103 ff. 3615:pp. 214–221 3572:Wolff 2000 3523:pp. 493 ff. 3448:pp. 219–220 3436:André Pirro 3343:pp. 130–131 3191:Liner notes 2906:Walcha 1987 2890:Walcha 1964 2858:pp. 297–298 2774:Kilian 1979 2625:Argent 2000 2549:Routledge. 2420:pp. 161 ff. 2097:. Leipzig: 1886:2 Unlimited 1874:Frank Lloyd 1858:Vanessa-Mae 1828:Other media 1810:harpsichord 1724:unhelpful. 1708:Hans Fagius 1335:(1967) and 1161: [ 1158:Klaus Eidam 1122:André Pirro 1042:piano rolls 1015:Karl Tausig 971:Lionel Rogg 901:Prestissimo 893:Franz Liszt 680:Performance 643:subdominant 638:pedal point 473:, etc.) or 389:treble clef 247:Dorian mode 140:Walt Disney 121:Baroque era 8720:Categories 8657:Ten Pieces 8614:One by One 8594:Fantasound 8576:Fantasmic! 8441:Daisy Duck 8423:Characters 8253:Orchestras 8216:Conductors 8205:soundtrack 7838:No. 4 in C 7825:No. 3 in C 7753:No. 7 in E 7740:No. 4 in C 7727:No. 3 in C 7634:, BWV 1128 7554:(doubtful) 7535:(doubtful) 7471:(doubtful) 7205:039304825X 7046:. London: 6985:J. S. Bach 6969:J. S. Bach 6821:1550583492 6800:. Kassel: 6769:0198164408 6636:0465018610 6505:Butt, John 6262:2007–2009 6094:Bath Abbey 6017:1959–1968 5987:, Alkmaar 5952:, Harvard 5704:Pt. 2 5700:Pt. 1 5660:Piano roll 5630:Piano roll 5602:Issued by 5583:Recordings 5378:Melbourne 5243:Reger, Max 5014:Publisher 4957:, (score). 4910:2012-01-11 4700:2011-09-29 4575:Claus 2018 4565:Claus 1998 4554:Blume 1968 4544:Emery 1966 4496:3765102490 4303:2020-11-07 4265:2020-11-04 4198:5 November 4005:2020-11-05 3967:1135280444 3648:pp. 99 ff. 3546:Eidam 2001 3516:8870630110 3440:J.-S. Bach 3422:pp. 174–83 3187:Piers Lane 3069:0306762110 2834:2020-01-07 2463:2021-09-25 2109:2020-11-08 2055:, p. 1999:Claus 2000 1948:, p. 1934:subsection 1927:subsection 1925:Recordings 1920:subsection 1904:References 1894:Classic FM 1878:Fred Mills 1803:Tutta Sola 1786:scordatura 1526:Rollerball 1435:California 1310:Henry Wood 1282:media help 1019:Gewandhaus 666:Recitativo 507:recitative 471:Praeludium 457:at the key 274:Title page 218:Gräfenroda 76:media help 8345:Ave Maria 7612:, BWV 768 7353:Muziekweb 7026:Leipzig: 6973:Leipzig: 6409:(2004) . 5955:Columbia 5924:Columbia 5897:Columbia 5894:, Alsace 5859:, Lübeck 5791:Columbia 5788:, London 5721:, London 5621:New York 5403:New York 5317:New York 5199:"Vorwort" 5192:Band XV: 5055:467300997 4812:23 August 4598:Wolf 2002 4441:553465573 4136:, p. 335. 3959:Routledge 3884:, p. 186. 3472:pp. 64–65 2800:pp. 55–60 2701:pp. 31–32 2363:pp. 18–19 2322:pp. 60–65 2035:467300997 1852:Billboard 1832:In 1935, 1692:John Butt 1319:In 1947, 1308:in 1928, 1296:In 1927, 1198:In 1980, 1190:In 1948, 1092:In 1873, 1079:biography 1035:Max Reger 1033:, and by 704:Reception 517:Structure 8746:Toccatas 8682:Category 8649:season 4 8551:Gumbasia 8536:Parodies 8466:Fantasia 8292:Fantasia 8284:Segments 8264:Fantasia 8227:Fantasia 8192:Fantasia 8179:Fantasia 8079:♭ 8036:♭ 7901:♭ 7888:♯ 7875:♯ 7841:♯ 7828:♯ 7796:♭ 7783:♭ 7756:♭ 7743:♯ 7730:♯ 7643:Keyboard 7283:Skeptoid 7269:Vol. 11 7199:, 2000. 7189:(2000). 7162:(2003). 7036:(1899). 7016:(1873). 6997:(1995). 6983:(1935). 6966:(1908). 6945:(1905). 6915:(1902). 6902:(1895). 6889:(1909). 6790:(1979). 6776:(1948). 6756:(2007). 6728:London: 6721:(1922). 6621:(2001). 6614:Leipzig. 6607:(1884). 6548:Archived 6517:, 1997. 6507:(1997). 6368:30044126 6337:Writings 6249:, 1968) 6133:, Drôme 5892:Gunsbach 5611:BWV 565 5505:Leipzig 5418:Archived 5279:Leipzig 5178:Leipzig 5120:Leipzig 5085:Leipzig 5041:Germany 5023:BWV 565 4940:21 March 4904:Archived 4872:Archived 4844:Archived 4806:Archived 4802:AllMusic 4772:Archived 4694:Archived 4653:Archived 4520:Archived 4502:Archived 4425:Archived 4297:Archived 4259:Archived 4192:Archived 4182:(2013). 4167:20534533 3996:Archived 3947:Archived 3861:archives 3852:Archived 3829:Archived 3801:Archived 3782:Archived 3745:Archived 3713:Archived 3694:Archived 3675:archives 3666:Archived 3548:, ch. 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Toccata and Fugue in D minor, BWV 565

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