He initially was there for 13 years. 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; Aside from Williams' observations about the fugue subject, the fugues BWV 543 and 944 differ in their larger outlines: their harmonic structure and the series of expositions and episodes are not parallel. Even in his later years, Liszt's A minor fugue remained one of his favourites: when he was invited to play at a private evening concert, with guests of honour Prince Albert of Prussia and his wife Princess Marie of Saxe-Altenburg, Liszt's first choice was the fugue and in his letter of thanks disclosed that Clara Schumann now as matter of course played his transcription rather than her own. To be “Bachian” means to be authentically German, unyielding. 4 "[34][35], BWV 543 – Prelude and Fugue in A minor for organ, Prelude and Fugue in A Minor, BWV 543 – Prelude, Prelude and Fugue in A Minor, BWV 543 – Fugue, Investigation of a Citizen Above Suspicion, "Preludes and Fugues (Praeludia) BWV 531–552", "Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Johann Jacob Froberger: The Dissemination of Froberger's Contrapuntal Works in Late Eighteenth-Century Berlin", International Music Score Library Project, "Johann Sebastian Bach, Präludium und Fuge, A-Moll", "Nunc Dimmitis, obituary of Heinrich Fleischer", "Sebastian Bachs Orgelfugen für das Pianoforte : zu 4 Händen eingerichtet, A-Wn Mus. The fugue can be broken up into sections as follows: The fugue is in 68 time, unlike the prelude, which is in 44 time. In August 1844, Liszt stayed in Montpellier while performing in the region. [1], Although Philipp Spitta has seen elements of northern traditions of the early Prelude BWV 543a/1 typical of the school of Buxtehude, Williams (2003) has pointed out that the same features are also present in the later version BWV 543/1. 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. As a Bachian, organist and composer, Reger's views on Bach reception, in particular his public writings, are well recorded in the literature. 8 40 years later, Laurens' brother recalls their lunchtime conversation. Bach arranged this Vivaldi concerto as his solo organ "concerto" BWV 593, probably in 1714–16. Prelude and Fugue in A minor, BWV 895 (Bach, Johann Sebastian) Bach's contemporary relevance (“Was ist mir Johann Sebastian Bach und was bedeutet er für unsere Zeit?”); as Anderson concludes, "The brevity of Reger’s “essay,” however, does not prevent the emergence of certain themes that are developed at greater length elsewhere in his writings: the nature of progress, the “illness” of contemporary musical culture, German nationalism, the guilt of the critics." Despite his injuries, he moved through US university appointments to the University of Minnesota, re-establishing his career as an organist. In his book, Stinson gives the A minor prelude of BWV 543 as the main example for how the process works, with particular attention given to how the pedal part can be filled in from the right hand. The traditional aspects are the semiquaver arpeggiated passage work with its "latent counterpoint" which incorporates a descending chromatic bass line. [9], Because of the piece's overall rhapsodic nature, many organists play this piece freely, and in a variety of tempi; it can be easily transcribed to a different instrument. 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. [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. this change, however, does not and cannot mean that the early version is wrong or that the composer was mistaken. 10 The versions of the 4-part fugue for BWV 543a and BWV 543 are identical; it lasts 151 bars. 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. bearb. "[12], In 1895–1986, Max Reger made a number of arrangements of Bach's organ works, both for piano duet and for piano solo. [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. He chose the edition of Haslinger as a starting point, although probably also consulted the 1844 Peters edition. 10 The four-hand arrangement of BWV 543 comes from his collection Ausgewählte Orgelwerke, published in 1896 by Augener & Co in London and G. Schirmer in New York, contains ten pieces, with a high level of difficulty. • 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. [13][14][15] While making the transcription in 1895 in Wiesbaden, Reger commented dismissively to Ferruccio Busoni, the Italian composer and fellow Bach transcriber, that, "It’s too bad that Franz Liszt did such a bad job on his transcriptions of Bach’s organ pieces—they’re nothing but hackwork. 1, of 1709, and in a Fugue in E minor by Pachelbel." [15][18][19], In 1898, before any recognition for his music, Reger had travelled to St. Paul's Church, Frankfurt am Main to hear a recital of his works by the Berlin organist Karl Straube. In 1857, having attended a Bach organ recital at the Frauenkirche, Dresden, which captivated both Clara Schumann and Joseph Joachim, Liszt's reaction had been, "Hm, dry as bones." "[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. Nevertheless, as far as Bach's music is concerned, Liszt became highly influential as a performer, transcriber and teacher. [2], According to David Schulenberg, the main sources for BWV 543 can be traced to the Berlin circle around Carl Philipp Emanuel Bach and Johann Kirnberger.