Program Notes: The German Baroque composer, organist, and church musician Johann Sebastian Bach needs little introduction. It was while serving as court organist and Konzertmeister at Weimer that Bach composed many of his organ works, including the Toccata and Fugue in d, believed to have been written between 1712 and 1717. The piece is not set in the dorian church mode per se, rather, the “Dorian” moniker refers to the common practice in Bach’s time to notate pieces in minor keys with one less flat in the key signature than we would expect with modern notation. The “Dorian” is set in d-minor, but appears with a blank key signature and all accidentals written into the score. At first glance, this strategy would appear to imply a selection in the D dorian mode. In addition to the darkness of the minor key, the prelude charges relentlessly with constant 16th note motion throughout, leaving little opportunity to seek peace or comfort. The fugue quickly establishes a rising motive with the subject consisting of ascending scale tones that step back and then leap a perfect fourth three times. Bach develops this subject through some of his most flawlessly demonstrated counterpoint, leading to moments of extreme tension building and resolving, journeys through multiple key centers, and a variety of textures. Notably, the consternation throughout the work is twice wiped away by triumphant major cadences to close both sections. Bach, who interestingly composed away from the keyboard, is supposed to have played this work for the opening of the new organ of the Martinkirche in Kassel in September 1732.
Performed by organist Dustin Tatro in live recital at St Paul United Methodist Church, Abilene, Texas, on November 17, 2019. Recital program - Triumph: Good over Evil.
5 окт 2024
