10 As a Bachian, organist and composer, Reger's views on Bach reception, in particular his public writings, are well recorded in the literature. Their collaboration not only involved concert tours, but a special "Bach–Reger–Musikfest" in June 1913, organized as the fifth Heidelberg Music Festival. After bars 36, there are semiquaver motifs in the manuals answered by similar motifs in the pedals: there are brisé effects similar to those found in chorale prelude BWV 599 or the Passacaglia, BWV 582/1; and pedal motifs similar to those found in the chorale prelude BWV 643. In the later version Bach was thinking on a larger scale and was considering the fugue and companion movement on a similarly large scale [...] The simplest way of extending the early prelude was to double the note values of the passages cited and thus make its flow more even. Unlike most of Bach's minor-key keyboard works, it ends on a minor chord rather than a picardy third. [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. bearb. The fugue theme, like that of the prelude, is composed of arpeggiated chords and downward sequences, especially in its later half. "[9], Through their connection with the publisher C. F. Peters, the family of Fanny, Rebecka and Felix Mendelssohn are known to have played in private or performed in public Bach organ works arranged for two pianos or piano four-hands. (-) - V/V/V - 6927×⇩ - Peter, Præludium [20] In 1913 a new edition of Bach's complete organ works was published by C. F. Peters, edited by Straube, with detailed instructions on organ technique, following his methods. Complete Score (Preview) )", "35. Pierre Gouin (2012/5/22), score [7] (A similarity had been mentioned by Wolfgang Schmieder, editor of the Bach-Werke-Verzeichnis.) [12], Already in 1836, early in his career, it is known that Liszt had developed a reverence for Bach's great "six preludes and fugues", BWV 543–548, or the "The Great Six" fugues as they became known in the nineteenth century. - Laurens then writes that, "lighting a cigar that passed at moments from between his lips to his fingers, executing with his ten fingers the part written for the pedals, and indulging in other tours de force and prestidigitation, he was prodigious, incredible, fabulous, and received gratefully with enthusiasm." 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. The Toccata-like Prelude in A minor—in the stylus phantasticus—bears the hallmarks of Bach's early, north German-influenced style, while the fugue could be considered a later product of Bach's maturity.[1][2]. As further evidence of the reputation of the fugue, Stinson observes that, "Schumann attended and reviewed Mendelssohn's only public performance of the movement, Liszt heard Clara play her piano transcription of it, and Clara eventually played Liszt's transcription. [3][4], There are two versions of the Prelude, both dating from the same period in Weimar (1708–1713). What does—pardon, what should—Sebastian Bach mean for our time? 2 The sources for BWV 543a, which is presumed to be an earlier version of BWV 543 differing markedly from the prelude but identical to the fugue, originate in Leipzig. His new mistress was Princess Carolyne von Sayn-Wittgenstein, who lived in a country estate at Woronińce in Ukraine; their companionship continued until Liszt's death. The versions of the fugue are identical, whereas the two versions of the prelude are distinct, the first version BWV 543/1a is shorter and presumed to be the earlier. He chose the edition of Haslinger as a starting point, although probably also consulted the 1844 Peters edition. The manuscript became part of the Amalienbibliothek, the music library of Princess Anna Amalia of Prussia; it is now in the Berlin State Library. After three months in Woronińce, Liszt set to work on preparing the transcriptions of BWV 543–548. [17] According to Anderson (2006a), in 1905 Reger was one of several German musicians, artists and critics surveyed by Die Musik on J.S. • 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. [20] Straube's organ playing reflected late-romantic style: as in Reger's works, his use of the Walze and Swell roller mechanisms, pioneered by Wilhelm Sauer, permitted rapid changes of dynamics and orchestral colour. 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. 10 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. this change, however, does not and cannot mean that the early version is wrong or that the composer was mistaken. Liszt first gave a straight rendition, which was a perfect classical way of playing; then he gave a second more colourful but still nuanced rendition, which was equally appreciated; finally he provided a third rendition, "as I would play it for the public ... to astonish, as a charlatan!" In his introduction Stinson writes that experiencing these works "through the eyes and ears of these four titans immeasurably increases one's appreciation of the music." [1], This 4-voice fugue BWV 543 has been compared to Bach's harpsichord Fugue in A minor, BWV 944, a 3-voice fugue that was probably written in 1708, and this organ fugue has even been called "the final incarnation" of BWV 944.
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