Introduction
The recorded performances of Richter, Stokowski, and Canadian Brass have two parts: the Toccata and Fugue. Typically, the toccata is played on the keyboard or organ in a free and open style, showcasing the composer’s technical skills. Fugue typically comprises three sections: exposition, development, and recapitulation. It is acknowledged for being a completely realized imitation counterpoint.
The recordings have a propelling rhythm, dramatic authority, and majestic notes, comprising a free opening section, a fugal part, and a short free closing section. The Toccata portion has a more homophonic texture with harmonic progressions supporting a single melody line. In the Fugue portion, polyphony is demonstrated by the layering of several voices, each with a separate melody.
The Toccata
The opening features a simple series of descending notes from A to D, repeated in an octave lower each time with a long, echoing scream in between. The opening motive, for example, is repeated three times in progressively lower pitches with a slight change. Listen, for example, to the statement of Richter and Stokowski’s video, where the opening statement is repeated at a lower pitch in the subsequent octave (Richter, 2014, 0:38; Stokowski, 2014, 0:22). The sharp contrast in Timber between Richter (2014) and Stokowski (2014) is because the former users the keyboard while the form a series of organs, such as the flute, oboes, clarinets, bass clarinet, trumpets, and horns.
Additionally, Stokowski’s recording differs from Richter’s because the melody is stretched between repetitions. However, the succession in the beginning note and the rhythm of the Canadian Brass is like Richter’s. The timber is relatively sharp in Richter’s and Canadian Bass. At the same time, it is calm at the beginning of Stokowski’s performance—the contrast in timbre results from the different instruments used to play the same tone. Overall, the start of the toccata in all three performances starts in the upper range of the keyboard, primarily with one timber, which is then doubled at the octave.
After the introduction, there is a long pause; then the dynamic gradually increases in all three recordings. The texture in Stokowski (2014, 1.01) from this point forward is smoother and lower tone compared to Richter (2014, 1:05) and Canadian Brass (2013, 2:09). The music quickly transitions from Mezzo Forte to Piano in perfect harmony at minutes 1:41, 1.39, and 2:41 for Richter, Stokowski, and Canadian Brass, respectively. In this context, the time provided in threes implies Richter’s, Stokowski’s, and Canadian Bass’ videos, respectively. Between the shifts, the melody rises and falls rhythmically to increase the tempo, which falls in the end before changing into a mezzo forte (Richter, 2014, 2:27; Stokowski, 2014, 2:58; Canadian Brass, 2013, 3:31).
There is a strikingly eerie silence with instruments playing in the background of Stokowski (2014, 3:04) performance, creating a perfectly chilling feeling common across the pieces. The Richter (2014, 8:18) and Canadian Bass (2014, 3.31) performances present similar scenarios of absolute silence or organs playing in the background. The tempo remains consistent with the Dynamic during the following change until the transition to Fugue (Richter, 2014,3:11; Stokowski, 2014, 4:10; Canadian Brass, 2013, 4:03). While Stokowski ends the Toccata in low timber, Richter and Canadian Brass end in a relatively high pitch.
The Fugue
At the start of the Fugue, the performance takes on a consistent melody, with a complex interplay of tones in quick succession. The dynamic remains consistent in all the three recordings after the Fugue begins, but the meter changes (Richter, 2014, 4:24; Stokowski, 2014, 5:20; Canadian Brass, 2013, 5:13).It ends in a sharp ditch in dynamics, and the pitch gradually decreases, albeit slowly for Richter than the rest. The dynamic slowly transitions from piano to pianissimo for Richter2014, 4:3636) and Canadian Brass (2013, 5:20).
Still, the tempo and pitch frequently change for Stokowski (2014, 5:31), with all having distinct melodic lines competing to produce a harmonious rhythm. The perfectly struck code dynamics increase rapidly to forte, reaching a climax through a consistently high tempo (Richter, 2014, 5:36; Stokowski, 2014, 6:17; Canadian Brass, 2013, 6:24). The dynamic remains consistent, then transitions to fortissimo, while retaining the climax of all three videos.
Although the pitch decreases at 7:05, 7:45, and 7:41, the tempo remains high to sustain the climax. From minutes 7:42, 8:18, and 8:18, the dynamic decreases rapidly, marking the anticlimax and signaling the transition towards the end of the performance. The dynamic rapidly increases again at minutes 8:36, 7:27, and 9:02, before the final cadence signals the end.
Reflection on How the Changes Impacted Perception of the Piece
The different performances draw attention to the rich musical history of organ play composed with propelling rhythm, dramatic authority, and majestic notes. It illustrates how past artists were expertly gifted in developing free-form notes and utilizing creative freedom in complex and classical music. Additionally, the performances demonstrate how music speaks directly to our hearts and conveys a multitude of feelings and stories without a single word. The fact that the pieces speak directly to the audience’s hearts is evident in the toccata and fugue performances.
The performers’ monumental organs and intricate coordination demonstrate what happens between the notes and the complexity of performing the music. For instance, the emotional power is highlighted in the unusually long silences. In addition, musical art is often associated with Western horror film culture, creating suspense and evoking a spooky feeling in listeners.
The changed parameters reveal the virtuosity of the performer’s touch and the overlapping repetition of a principal theme in different melodic lines. Changes superimpose the single melody with supporting accomplishment to show how the work notes are equal. Therefore, listeners focus on how the notes fit together and the excellent skills the performers apply in the composition. It is common for the audience to hear brief melodic figures repeated twice, with a slight variation in the second statement. Accordingly, the changed parameters shed new light on the unchanged ones, helping listeners distinguish flowing melodies from block chords.
The performance’s setting, audience, and videography indicate that it serves varying purposes. Listening to the music evokes emotions of excitement and hints of rounded berries, sometimes spicy or peppery. Videos often feature performers who showcase fast fingerwork, highlighting the composer’s technical skills.
For instance, between minutes 5:13 and 6:00 of Richter’s performance, the videographer focuses on the fast-paced movement of the hands on the keyboard in C, the coordination of the feet to S, and the complexity required to produce the various codes. A similar filming technique is applied throughout the Stokowski and Canadian Bass masterpiece. Interestingly, the performances are intended to showcase the fingers’ maneuverability through an open and free style of playing. For this reason, the performance immediately shifts to wild finger movements up and down the piano or organ, creating a vibrant, energizing composition that amazes the audience.
Aside from Richter’s, the other two recordings feature an audience consistently applauding the performers’ fantastic twists and skills. A performance venue with an audience present is typically intended to demonstrate that such pieces are valued for the technique and skills put into the work. The Richter video showcases the interior of a Gothic architectural building, complementing the pianist’s artistry. Different versions of the music demonstrate how various instruments can combine in intricate patterns to recreate a similar musical theme.
References
Canadian Brass. (2013). Bach: Toccata & Fugue in D minor – original Canadian Brass with Peter Schickele – part 5 of 7. YouTube.
Richter, K. (2014). Karl Richter – Toccata & Fugue In D Minor – BWV 565. Youtube.
Stokowski, L. (2014). Bach: Toccata & Fugue in D minor – Stokowski at 90. Youtube.