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The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach. First published in 1833 through the efforts of Felix Mendelssohn, it became the most famous work in the organ repertoire, owing its popularity in part to arrangements such as the one appearing in Walt Disney's ''Fantasia''. Its attribution to Bach has been doubted in the late 20th century and early 21st century, but no edition of the Bach Werke Verzeichnis listed it among the doubtful works, nor does its entry on the website of the Bach Archiv Leipzig even mention such doubts. ==History== The only extant near-contemporary source for BWV 565 is an undated copy by Johannes Ringk.〔Zehnder 2011 (score), Commentary pp. 4–5〕〔Rolf-Dietrich Claus, editor (2000). ''Toccata und Fuge d-Moll BWV 565: Faksimile der ältesten überlieferten Abschrift von Johannes Ringk''. Cologne: Dohr. ISBN 978-3-925366-78-9〕 A broad estimate is that the manuscript was written somewhere in the period from ten years before Bach's death in 1750 to ten years after it.〔Ringk (score)〕 Ringk produced his first copy of a Bach score in 1730 when he was 12.〔 The evolution of Ringk's handwriting lets assume that his copy of BWV 565 was written soon after his first copy of a Bach composition, which would narrow the date of his BWV 565 manuscript to between 1730 and 1735, when Ringk was around 15.〔 At the time Ringk was a student of former Bach-student〔Billeter 1997, pp. 77–80 ((pp. 159–164 ) in Billeter 2004)〕 Johann Peter Kellner at Gräfenroda, and probably faithfully copied what his teacher put before him.〔 There are some errors in the score such as note values not adding up to fill a measure correctly: such defects show a carelessness deemed typical for Kellner, who left over 60 copies of works by Bach.〔〔(Kellner's copies of works in the BWV catalogue ) at 〕 The title page of Ringk's manuscript writes the title of the work in Italian as ''Toccata con Fuga'', names Johann Sebastian Bach as the composer of the piece, and indicates its tonality as "ex. d. #.", which is usually seen as the key signature being D minor. However, in Ringk's manuscript the staves have no accidental at the key (which would be the usual way to write down a piece in D minor). In this sense, in Ringk's manuscript, the piece is written down in D Dorian mode. Another piece listed as Bach's was also known as Toccata and Fugue in D minor, and was equally entitled to the "Dorian" qualification. It was that piece, BWV 538, that received the "Dorian" nickname, that qualifier being effectively used to distinguish it from BWV 565. Most score editions of BWV 565 use the D minor key signature, unlike Ringk's manuscript.〔〔Kilian 1964 (score), p. VI〕 Ringk's manuscript does not use a separate stave for the pedal part, which was common in the 18th century (notes to be played on the pedal were indicated by "p." being written at the start of the sequence). Printed editions of the BWV 565 organ score invariably write the pedal line on a separate stave. In Ringk's manuscript the upper stave is written down using the soprano clef (as was common in the time when the manuscript originated), where printed editions use the treble clef.〔〔 All other extant manuscript copies of the score date from at least several decades later: some of these, written in the 19th century, are related with each other in that they have similar solutions to the defects in the Ringk manuscript. Whether these derive from an earlier manuscript independent from Ringk's (possibly in the C. P. E. Bach/Johann Friedrich Agricola/Johann Kirnberger circle) is debated by scholars. These near-identical 19th-century copies, the version Felix Mendelssohn knew, use the treble clef and a separate stave for the pedal. In general, the later copies show a less excessive use of fermatas in the opening measures and are more correct in making the note values fit the measures, but that may as well be from polishing a defective source as from deriving from a cleaner earlier source. In the later copies the work is named for instance "Adagio" and "Fuga" (for the respective parts of the work), or "Toccata" for the work as a whole.〔〔 The name "Toccata" is most probably a later addition, similar to the title of ''Toccata, Adagio and Fugue'', BWV 564, because in the Baroque era such organ pieces would most commonly be called simply ''Prelude'' (''Praeludium'', etc.) or ''Prelude and Fugue''.〔Williams 1981, p. 331〕 Ringk's copy abounds in Italian ''tempo'' markings, ''fermatas'' (a characteristic feature of Ringk's copies) and staccato dots, all very unusual features for pre–1740 German music.〔 German organ schools are distinguished into north German (e.g. Dieterich Buxtehude) and south German (e.g. Johann Pachelbel). The composition has stylistic characteristics from both schools: the stylus phantasticus,〔Krummacher, Friedhelm. "Bach's Free Organ Works and the 'stylus Phantasticus'" pp. 157–171 in Stauffer/May 1986〕 and other north German characteristics are most apparent.〔Spitta 1873, (Vol. I pp. 402–403 )〕〔Spitta 1899, (Vol. I pp. 403–404 )〕 However, the numerous recitative stretches are rarely found in the works of northern composers and may have been inspired by Johann Heinrich Buttstett,〔Williams 2003, (p. 155 ff. )〕 a pupil of Pachelbel, whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel's D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well. At the time it was however common practice to create fugues on other composers' themes.〔Newman 1995, 181.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Toccata and Fugue in D minor, BWV 565」の詳細全文を読む スポンサード リンク
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