Kandinsky's painting, Fuga, provides occasion to explore the aesthetic ideal of expressionism and the historical roots of modern art, both in reaction to impressionism and as a continuation of the western aesthetic. Bach's legacy to Schoenberg and Kandinsky can be found in the principle of affect coupled with motivic development and economy of means.
BWV exhibits a typical simplified north German structure with a free opening toccataa fugal section fugueand a short free closing section. It then spirals toward the bottom, where a diminished seventh chord appears which actually implies a dominant chord with a minor 9th against a tonic pedalbuilt one note at a time.
This resolves into a D major chord: The section ends with a diminished seventh chord which resolved into the tonicD minor, through a flourish. The second section of the Toccata is a number of loosely connected figurations and flourishes; the pedal switches to the dominant key, A minor.
This section segues into the third and final section of the Toccata, which consists almost entirely of a passage doubled at the sixth and comprising reiterations of the same three-note figure, similar to doubled passages in the first section. After a brief pedal flourish, the piece ends with a D minor chord.
Such violinistic figures are frequently encountered in Baroque music and that of Bach, both as fugue subjects and as material in non-imitative pieces. Unusually, the answer is in the subdominant key, rather than the traditional dominant. Although technically a four-part fugue, most of the time there are only three voices, and some of the interludes are in two, or even one voice notated as two.
Although only simple triadic harmony is employed throughout the fugue, there is an unexpected C minor subject entry, and furthermore, a solo pedal statement of the subject—a unique feature for a Baroque fugue.
Although only 17 bars long, it progresses through five tempo changes. The last bars are played Molto adagio, and the piece ends with a minor plagal cadence. The first section of the piece, the Toccata, takes somewhat less than a third of the total performance time.
Peters published the Toccata con Fuga as No. Consequently, the name of the piece was again given in Italian as Toccata con Fuga and the piece was again written down in D Dorian i. However more modern conventions were maintained with regard to using the treble clef in the upper stave and using a separate stave for the pedal.
The first major public performance was by Mendelssohn, on 6 August in Leipzig. Power Biggs recorded the Toccata 14 times played on different European organs, and Columbia issued these recordings on a single album.
With the reprise of the initial Toccata, the dramatic idea reaches its culmination amidst flying scales and with an ending of great sonority.
The VF series ran from to Forkel probably did not even know the composition. Spitta considered the fugue "particularly suited to the organ, and more especially effective in the pedal part.
This was however about to change: 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 the climax all the more powerful.
He calls the Toccata "brilliantly rhapsodical", more or less follows Spitta in the description of the fugue, and is most impressed by the coda: He sees it as a youth work composed beforethat with its underdeveloped fugue is stylistically eclectic but unified without 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 considers it an early work, probably composed for testing a new organ: For instance the crescendo that builds up through arpeggios, gradually building up to using hundreds of pipes at the same time, can show exactly at what point the wind system of the organ may let down.
In this book he devoted less than a page to BWV Pirro supposes Bach had success with this music in the smaller German courts he visited. 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 continues with giving tips on how to perform the work so that it does not reach the ear of the listener as a "meaningless scramble".
He describes the fugue as slender and simple, but only a "very sketchy example of the form".
His suggestions for the organ registration make comparisons with how the piece would be played by an orchestra.
Many parts of the composition are described as typical for Bach.
Williams sees stylistic matches with Pachelbel, with the north German organ school, with the Italian violin school, but sees as well various unusual features of the composition.
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.A fugue can be quite dense and finding items can be a bit like finding Waldo, especially since so much of the fugue is saturated by motives directly sown in the subject.
This is why I recommend listening to a piece several times as you analyze. This is a lot like how a fugue works. A fugue is a piece of music that uses interwoven melodies based on a single musical idea.
Fugues were most popular during the Baroque Period, ca. Learn term:bach = organ fugue in g minor with free interactive flashcards. Choose from 34 different sets of term:bach = organ fugue in g minor flashcards on Quizlet.
Log in Sign up. term:bach = organ fugue in g minor Flashcards. Browse 34 sets of term:bach = organ fugue in g minor flashcards. Let there be no confusion about it: J.S. Bach's Fugue in G minor for organ, BWV , is known as the "Little" G minor not because it is a work of small importance or even because it is an unusually short work in its own right, but simply so that it and the much longer and later "Great" G minor Fantasia and Fugue, BWV , might not be mistaken for one another.
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Sep 20, · The Bach “Little” Fugue in G minor is an amazing piece that adds to the understanding of the musical elements that are throughout the piece. The melody throughout the piece in all of the voices has different variation as the main theme moves through them.
The texture with all of the layers moving at once.