Johann Sebastian Bach explored a wide variety of
compositional models in the formative years before and
during his first major tenure in Weimar (which began in
1708); this Toccata in D major is an excellent example
of such experimentation. Falling loosely into the North
German toccata style, it in fact embodies a potpourri
of formal types. An early copy of the work confirms
that it was intended for the organ, even though no
pedal parts are in evidence. In fact, the Prelude and
Fugue in D major, ...(+)
Johann Sebastian Bach explored a wide variety of
compositional models in the formative years before and
during his first major tenure in Weimar (which began in
1708); this Toccata in D major is an excellent example
of such experimentation. Falling loosely into the North
German toccata style, it in fact embodies a potpourri
of formal types. An early copy of the work confirms
that it was intended for the organ, even though no
pedal parts are in evidence. In fact, the Prelude and
Fugue in D major, BWV 532 for organ is remarkably
similar in structure to this work, and, given Bach's
propensity to reuse and recycle, probably was a
reworking of sorts.
Like most toccatas, this one has several sections. The
piece opens with brilliant yet almost crude scale and
chordal passages, more idiomatic to the organ than to
the harpsichord. The scales are interrupted by a rather
jarring arpeggio which leads into a tremolo (rather
atypical for Bach). This concludes and proceeds into a
rather cheerful allegro. Though never modulating away
from D major for long, the arrangement of voices and
registers sustains this section until its end. The
ensuing adagio passage is recitative-like in character
until a dramatic interruption of descending scales,
which remind the listener of the less structured
opening. This section continues without pause into a
fugue, which begins in F sharp minor. Unlike most of
Bach's fugues, this one states the subject and
countersubject simultaneously from the beginning.
Certainly the most mature passage of this work, the
fugue hints at many unusual harmonic regions and
utilizes dense chromaticism throughout its development.
This fugue proceeds, again without pause, into a freely
composed quasi-improvisatory section, which explodes
into a fast scalar passage with dramatic harmonic
implications. Finally, without pause again, the piece
bursts into a second, rather quaint, fugue for the end.
Although it has a subject, it serves more as a harmonic
grounding rather than a melody. Indeed, the piece is
more of a vehicle for virtuosity than a display of
compositional proficiency.
PARTITION