0.0/10 To be “Bachian” means to be authentically German, unyielding. The sources for BWV 543 are summarised in the section above. The main differences occur in bars 1–6 of BWV 543a/1 and bars 1–9 of 543/1 where the descending semiquaver broken-chord figures are altered and truncated. After three months in Woronińce, Liszt set to work on preparing the transcriptions of BWV 543–548. (-) - V/V/V - 6927×⇩ - Peter, Præludium 10 2 As Stinson points out, "Liszt's lifelong advocacy of this movement—as a performer, transcriber, and teacher—is surely one reason for its enduring popularity. When Liszt moved to Berlin in 1841, the first concerts where his new piano transcriptions of the Great Six were heard were at the beginning of 1842, with the E minor fugue of BWV 548 at the Singakademie and the A minor fugue of BWV 543 in Potsdam. • Page visited 9,487 times • Powered by MediaWiki As Stinson concludes, "over thirty years later Liszt commented to his piano class that it would have been “sinful” of him to add dynamic markings to the score of the A-minor fugue, since “the great Bach” had written none himself." *#03193 - 0.11MB, 2 pp. Hs. [9], Because of the piece's overall rhapsodic nature, many organists play this piece freely, and in a variety of tempi; it can be easily transcribed to a different instrument. 40 years later, Laurens' brother recalls their lunchtime conversation. In his much cited response, Reger wrote: "Sebastian Bach is for me the Alpha and Omega of all music; upon him rests, and from him originates, all real progress! this change, however, does not and cannot mean that the early version is wrong or that the composer was mistaken. Prelude and Fugue in A minor, BWV 895 (Bach, Johann Sebastian) 10 What does—pardon, what should—Sebastian Bach mean for our time? Prelude and Fugue in A minor, BWV 889 (Bach, Johann Sebastian) With his view that Bach was "the St. Thomas Aquinas of music," Liszt ultimately had an almost religious zeal for respecting the score as written by Bach. 6 2 The same applies for the corresponding passages for bars 17–18 in BWV 543a/1 and bars 26–28 in BWV 543/1. [26], The Oscar-winning Italian composer Ennio Morricone has described the relation between BWV 543 and the main themes of certain films he scored. The differences between the two versions of the prelude are discussed in Williams (2003): the earlier version is 43 bars long, while the later version is 53 bars long. 1, of 1709, and in a Fugue in E minor by Pachelbel." The fugue theme, like that of the prelude, is composed of arpeggiated chords and downward sequences, especially in its later half. Stinson (2006) points out that this kind of gimmickry was not uncommon at that time: "Indeed, [Liszt] is reported to have accompanied Joachim in the last movement of Mendelssohn's Violin Concerto with a lighted cigar in his right hand the entire time! He initially was there for 13 years. He was aided by the copyist Joachim Raff at various stages. Pierre Gouin (2012/5/22), score 3 No. A secondary source is from the copyist Johann Peter Kellner, written around 1725 and also now in the Berlin State Library. Due to the sequential nature of the subject, the majority of the fugue is composed of sequences or cadences. [12], During that period, as a travelling musician, Liszt's pianistic pyrotechnics proved a huge attraction for concert-goers. As a concert pianist, however, Liszt was not drawn to the organ. Williams also cites similarities "between the subject’s outline and that of the A minor Fugue BWV 559, or between the pedal figures in both Preludes' closing stages [and] in the Prelude’s opening [right hand] figure, in a Corrente in Vivaldi’s Op. The copyist associated with C. P. E. Bach has only been identified as "Anonymous 303"; the manuscript is now housed in the Berlin State Library. Bach arranged this Vivaldi concerto as his solo organ "concerto" BWV 593, probably in 1714–16. 4 In the published version of Peters, Liszt chose to place the B minor prelude and fugue, BWV 544 last, altering the standard order in most of the editions for organ. "[9], Through their connection with the publisher C. F. Peters, the family of Fanny, Rebecka and Felix Mendelssohn are known to have played in private or performed in public Bach organ works arranged for two pianos or piano four-hands. In search of originality, I found myself trapped in one of my deepest loves. "[1][5][6], The musicologist Peter Williams has pointed out that the catchy "lengthy sequential tail" of this fugue subject (its last 3 bars) "easily confuse[s] the ear about the beat" and is harmonically an exact "paraphrase" of the sequence in bars 6-8 of Vivaldi's double violin concerto Op. "[12], In 1895–1986, Max Reger made a number of arrangements of Bach's organ works, both for piano duet and for piano solo. [3][4], There are two versions of the Prelude, both dating from the same period in Weimar (1708–1713). Although less prolific than copyists like Johann Friedrich Agricola, from the many hand-copies circulated for purchase by Anon 303, including those from the Sing-Akademie zu Berlin recovered from Kiev in 2001, commentators agree that the professional copyist who must have enjoyed a close relationship with C. P. E. Bach. That Bach could be misjudged for so long, is the greatest scandal for the “critical wisdom” of the eighteenth and nineteenth centuries." "[34][35], BWV 543 – Prelude and Fugue in A minor for organ, Prelude and Fugue in A Minor, BWV 543 – Prelude, Prelude and Fugue in A Minor, BWV 543 – Fugue, Investigation of a Citizen Above Suspicion, "Preludes and Fugues (Praeludia) BWV 531–552", "Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Johann Jacob Froberger: The Dissemination of Froberger's Contrapuntal Works in Late Eighteenth-Century Berlin", International Music Score Library Project, "Johann Sebastian Bach, Präludium und Fuge, A-Moll", "Nunc Dimmitis, obituary of Heinrich Fleischer", "Sebastian Bachs Orgelfugen für das Pianoforte : zu 4 Händen eingerichtet, A-Wn Mus. *#223035 - 0.07MB, 1 pp. [20] In 1913 a new edition of Bach's complete organ works was published by C. F. Peters, edited by Straube, with detailed instructions on organ technique, following his methods. The semiquaver figures begin as a solo in the manual:[1][2], and then, after a lengthy demisemiquaver embellishment over a tonic pedal point, are heard again in the pedal. They immediately shared an affinity for Bach's works and, in turn, Straube became Reger's most important promoter. 4 The four-hand arrangement of BWV 543 comes from his collection Ausgewählte Orgelwerke, published in 1896 by Augener & Co in London and G. Schirmer in New York, contains ten pieces, with a high level of difficulty. An additional source is the score made by the copyist Michael Gotthardt Fischer; it is now stored in the Irving S. Gilmore Music Library of Yale University. Women also played an important role: Clara Schumann as a highly reputed pianist and fellow advocate of Bach; and Mendelssohn's accomplished sisters, Fanny and Rebecka, who played the fugue in piano arrangements either together or with their brother Felix.