"Tokata and Fugue" is a form of variation of the Baroque period, consisting of "Tocata" and "Fugue", which developed after the 17th century. When Bach, the "father of modern music", created this genre, he not only brought the tocat tower to the fullest, but also greatly enhanced the connotation of the fugue: reinforcing the theme and increasing the use of harmonic techniques. His work thus became representative of this genre.
"Tocata" and "Fugue"
"Tokata", also known as "tentacles" or "tentacles", is a free improvised keyboard piece, often composed of several contrasting segments, fast and tightly paced. In the process of continuous development and refinement, the Tocata style has become free-spirited and suitable for fast playing.
The word "fugue" is a transliteration of the Latin word "fuge", which is the most complex and rigorous form in polyphonic music, based on imitation of contraposition, and the musical multi-voice counterpoint is combined, and each part has no primary or secondary distinction, contrasting or complementing each other. In the 18th century, Bach enriched the content of the fugue, making the fugue almost perfect.
Tocata and Fugue in D minor, written between 1708 and 1717, is the most widely known of his three tokata and fugues for the organ and is a masterpiece of Bach's youth. The rhapsody Tocata and the rigorous and dignified fugue show the majestic spirit and profound artistic conception of this work, while showing the musical style of Bach's life and the creative characteristics of polyphonic music.
Although this work consists of two parts, tocata and fugue, the musical image before and after is very unified. The first part uses a full and powerful introduction to lead out to Tokata, rendering and paving the way for the grandeur of the whole song. Immediately after, the free tocata theme adopts a storm-like rapid board, which is formed in one go, like flowing water. This "Tocata" is based on the main tone and vocal technique, and the structure is free and dramatic, which forms an emotional contrast with the fugue.
The fugue part of the song is relatively free in rhythm, the theme uses the same musical material as the introduction, and after eight repetitions, the mood of the music gradually rises. Unlike Tocata, the fugue was changed to four or four beats, and after a change in speed, the six passages of this part created a musical image from multiple levels, each part both layered and natural.
The melody at the end is gorgeous and the speed is varied. After a series of colorful chords, the piece reproduces the Tocata section, giving the music its completeness and unity, and finally ends with an imposing epilogue.
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Today's editor recommends the performance of the organ soloist Xaver Varnus in Berlin Cathedral, "Toccata and Fugue in D minor" (BWV 565), the organ piece, "Tokata and Fugue in D minor" is one of the masterpieces of Bach's youth, later adapted into orchestral pieces by polish composer Stokovski, and adapted into piano music by Polish pianist and composer Tausig.