[20][22] One of Straube's Leipzig pupils, Heinrich Fleischer, was called up for service in Germany in 1941; in Russia he was injured in an automobile accident in 1943; after three days of surgery at Równo, he was informed that two fingers of his left hand would have to be amputated, one completely and the other partially. "[12], In 1847, exhausted by his years on the concert circuit, Liszt retired to the Weimar, where in 1848 he was appointed to be Kappelmeister at the Grand Duchy, the same role once filled by Bach. 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. 0.0/10 The traditional aspects are the semiquaver arpeggiated passage work with its "latent counterpoint" which incorporates a descending chromatic bass line. - There is an additional source from the copyist Joachim Andreas Dröbs whose score for BWV 543 formed part of a collection by Johann Christian Kittel, now in the Leipzig University Library. He remarked "[a]fter reflecting further on this resemblance, I then realized that the other theme as well was derived from my own idealization of Johann Sebastian Bach's Fugue in A Minor BWV 543. 8 Due to the sequential nature of the subject, the majority of the fugue is composed of sequences or cadences. (-) - !N/!N/!N - 1513×⇩ - Pierre Gouin, PDF typeset by Pierre Gouin • Switch back to classic skin, Creative Commons Attribution Non-commercial 3.0, http://imslp.org/index.php?title=Prelude_and_Fugue_in_A_minor,_BWV_895_(Bach,_Johann_Sebastian)&oldid=3149118, Works first published in the 19th century, Pages with commercial recordings (Naxos collection), Creative Commons Attribution-ShareAlike 4.0 License, Montréal: Les Éditions Outremontaises, 2012. [17] According to Anderson (2006a), in 1905 Reger was one of several German musicians, artists and critics surveyed by Die Musik on J.S. Stinson (2006) gives the technical details of the different stages of transcription, which started from simple notes in Haslinger's score: these are recorded in the Goethe- und Schiller-Archive in Weimar. 10 Prelude and Fugue in A minor, BWV 895 (Bach, Johann Sebastian) 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. He was aided by the copyist Joachim Raff at various stages. "[12], In 1895–1986, Max Reger made a number of arrangements of Bach's organ works, both for piano duet and for piano solo. 2 [3][4], There are two versions of the Prelude, both dating from the same period in Weimar (1708–1713). The main source was an unidentified copyist associated with Bach's pupil Johann Ludwig Krebs; the manuscript is now in the Berlin State Library. 8 These include solo passages at the start; semiquaver passages with hidden two- or three-part counterpoint in both the manuals and pedals; virtuosic demisemiquaver passages with trills leading to a cadence; and running semiquaver and demisemiquaver figures throughout, including at the start and in the coda. bearb. Prelude and Fugue in A minor, BWV 543 is a piece of organ music written by Johann Sebastian Bach sometime around his years as court organist to the Duke of Saxe-Weimar (1708–1713). 1, of 1709, and in a Fugue in E minor by Pachelbel." As a concert pianist, however, Liszt was not drawn to the organ. What does—pardon, what should—Sebastian Bach mean for our time? In semi-serious banter, Liszt demonstrated three ways of playing the A minor fugue, a work that Laurens said was so hard that only Liszt might be the only one capable of tackling it. 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. A most powerful and inexhaustible remedy, not only for all those composers and musicians who suffer from “misunderstood Wagner,” but also for all those “contemporaries” who suffer from spinal maladies of all kinds. Pianoforte vierhändig, Bach (J. S.)", "Ennio Morricone: 10 (little) things you may not know about the legendary film composer", "Bach/Liszt: The Great Prelude & Fugue in a, bwv 543", Toccata and Fugue in D minor ("Dorian"), BWV 538, Fantasia and Fugue in G minor ("Great"), BWV 542, Prelude and Fugue in E minor ("Wedge"), BWV 548, Eight Short Preludes and Fugues, BWV 553–560, Toccata, Adagio and Fugue in C major, BWV 564, Prelude (Toccata) and Fugue in E major, BWV 566, Fantasia ("Pièce d'Orgue") in G major, BWV 572, Passacaglia and Fugue in C minor, BWV 582, Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, Capriccio on the departure of a beloved brother, Concerto transcriptions, BWV 592–596 and 972–987, List of compositions by Johann Sebastian Bach, List of fugal works by Johann Sebastian Bach, List of concertos by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=Prelude_and_Fugue_in_A_minor,_BWV_543&oldid=990811273, Articles with International Music Score Library Project links, Creative Commons Attribution-ShareAlike License, Franz Xaver Gleichauf (1801–1856), a pupil of, This page was last edited on 26 November 2020, at 17:02. 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. Complete Score (Preview) As Beechey (1973) observes, "The more serious question concerning the opening passage of the prelude in its early and later versions is the fact that Bach changed his demisemiquavers to semiquavers [...] and in doing so preserved a calmer mood and a less rhapsodic feeling in the music; 4 [8] Williams writes that the fugue "has often been likened to the keyboard fugue BWV 944 [...] and claimed as some kind of version of it [but] the resemblances – contours of subject and countersubject, a perpetuum mobile element, a rather free close – are too slight" to support the comparisons. They immediately shared an affinity for Bach's works and, in turn, Straube became Reger's most important promoter. *#03193 - 0.11MB, 2 pp. His friendship with the Schumanns and Mendelssohn and the Bach library he had assembled with them enabled Laurens to become one of the main experts on Bach organ works in France. In August 1844, Liszt stayed in Montpellier while performing in the region. 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." The manuscript became part of the Amalienbibliothek, the music library of Princess Anna Amalia of Prussia; it is now in the Berlin State Library. 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. (-) - V/V/V - 6927×⇩ - Peter, Præludium During this period there were reports that Liszt resorted to stunts in front of live audiences, which prompted possibly deserved charges of charlatanry. Prelude and Fugue in A minor, BWV 889 (Bach, Johann Sebastian) - [23][24][25] In 2018, Dean Billmeyer, from the same university and a former organ pupil of Fleischer, wrote an account on the performance tradition of Straube, accompanied by performances from Germany, including a recording of BWV 543 from the Sauer orgen in the Michaeliskirche, Leipzig.
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