8/18 – ORGAN 102: Fantasies, Preludes & Fugues of J.S. Bach

All three of the pieces featured in this program likely date from about 1700-1725, covering Bach’s period in Weimar (approximately 1708 to 1717) during which he developed his style in writing for the organ. After that time period, composing for the organ was not amongst his primary duties.

The Fantasy in G Major, BWV 572, was composed before 1712, most likely during Bach’s Weimar period. In this work, the composer placed an emphasis on pedal work and on the performer’s dexterity. The piece opens with a sprightly introduction that makes its way into a dense, 5-part middle section.

Fugue on the “Magnificat,” BWV 584, was likely written around 1725—using Bach’s thematic material. In much of the reference material, there is the note “spurious” or “doubtful,” indicating that it is possible that while the musical themes are Bach’s, true authorship of the arrangement is in question.

The Prelude and Fugue in D Major, BWV 532, were probably originally composed independently of one another. Their style would seem to indicate they come from Bach’s years in Arnstadt in the early 1700s. The Prelude is, in effect, a three-part toccata. The Fugue is one of the most brilliant virtuoso pieces in the earlier Bach organ works.

The designation BWV stands for Bach Werke Verzeichnis (Bach Works Catalogue, in effect), the listing compiled by one Wolfgang Schmieder. Sometimes the letter S is used instead, standing for the compiler. The numerical listings are not chronological, but rather by items within each category of works (organ pieces, cantatas, etc.) BWV-1 starts with the cantatas; the listing of the 300+ organ pieces begins with 525.

Finally, a repeat of a favorite quote about Bach, from Grove’s Dictionary of Music and Musicians (1955 edition): “Music, to Bach, was the apparatus of worship, and the line of demarcation between the sacred and secular forms was for him not decisively drawn. In the history of his art he is the link between the old and he new, not exclusively a reformer, the originator of new forms, but rather ‘a spectator of all musical time and existence,’ attracted by every utterance that rang true.”