During his early life, Johann Sebastian Bach
experimented with a variety of formal types. In
addition to German and French forms, Bach was greatly
influenced by the Italian Baroque. This piece is an
example of such experimentation; rather than the North
German style which the other six manualiter
(hands-only) toccatas follow, this one is based on the
three-movement Italian concerto model, with alternation
of tutti and "solo." Bach's most famous composition in
this style was the "Italian" Concert...(+)
During his early life, Johann Sebastian Bach
experimented with a variety of formal types. In
addition to German and French forms, Bach was greatly
influenced by the Italian Baroque. This piece is an
example of such experimentation; rather than the North
German style which the other six manualiter
(hands-only) toccatas follow, this one is based on the
three-movement Italian concerto model, with alternation
of tutti and "solo." Bach's most famous composition in
this style was the "Italian" Concerto in F, BWV 971,
and this work is also related to the organ Toccata,
Adagio and Fugue in C, BWV 564. One manuscript of the
work (now lost) apparently read, in translation,
"Concerto or Toccata for Harpsichord," clearly
indicating the difference between this and the other
six toccatas with which this one is often
collected.
Written in the key of G major, one of Bach's "sunniest"
keys, the opening begins with a falling scale, erupting
into a series of parallel chords which descend an
octave. Though these gestures serve as the "ritornello"
for the movement, the overall demeanor is that of the
quasi-improvisatory toccata; such juxtaposition of
formal types is common in Bach's later music. After
this opening, the texture thins to a more transparent
one, indicating the switch to the "soloist" (of the
concerto model). The alternation between the full
ritornello and the lighter "solo" section occurs
throughout the movement, in several harmonic regions.
Although it bears the same form as the Italian Concerto
mentioned above, the brief and rather uniform phrase
structure here indicates that this work is likely very
early (although perhaps slightly later than the other
six toccatas).
The second movement begins in a rather free section in
adagio tempo, but returns to the four-voice motet style
with which Bach was more comfortable. The counterpoint
is free, though Bach does establish a brief theme that
he works at throughout the movement after the
contrapuntal texture begins.
The third, and final movement, is a brilliant fugal
gigue in the French style. After the opening few
measures, we hear almost constant running sixteenth
notes throughout, giving the work a very impressive
texture (and the performer some awkward moments). While
the movement is among the most elegantly constructed of
the fugues in the manualiter toccatas, it occasionally
suffers from lack of melodic variety; it seems that the
young Bach very much enjoyed setting the subject in
stretto (staggering entries so they overlap), a
technique he uses with greater discretion in his more
mature writing. At the same time, this toccata is
probably the most unified of the keyboard toccatas in
terms of style and formal plan.
PARTITION