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Theme. The fugue's four-and-a-half measure subject in G minor is one of Bach's most recognizable tunes. The fugue is in four voices. During the episodes, Bach uses one of Arcangelo Corelli's most famous techniques: imitation between two voices on an eighth note upbeat figure that first leaps up a fourth and then falls back down one step at a time.
English: Robert Huw Morgan performing J. S. Bach's Fantasia & Fugue in G minor at Stanford Memorial Church. Audio is encoded at 64 kb/s and video is encoded at 156 kb/s. The resolution is 220 x 165. The clip was prepared with ffmpeg2theora.
Leopold Stokowski made a large number of transcriptions for full orchestra, including the Toccata and Fugue in D minor for organ, which appeared in the film Fantasia and the Little Fugue in G minor. Alexander Siloti made many piano transcriptions of Bach, most famously his Prelude in B minor based on Bach's Prelude in E minor, BWV 855a.
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BWV 575 – Fugue in C minor; BWV 576 – Fugue in G major; BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August ...
The Great Fantasia and Fugue in G minor, BWV 542, is an organ prelude and fugue by Johann Sebastian Bach. It acquired that name to distinguish it from the earlier Little Fugue in G minor, which is shorter. This piece is not to be confused with the Prelude and Fugue in A minor, which is also for organ and also sometimes called "the Great". [1] [2]
The Prelude and Fugue in G minor, BWV 861, is No. 16 in Johann Sebastian Bach's Well-Tempered Clavier Book I, keyboard music consisting of 24 preludes and fugues in every major and minor key. Bach's G minor fugue is "insistent and pathetic". [citation needed] The subject also appears in his funeral cantata Gottes Zeit ist die allerbeste Zeit ...
The Prelude and Fugue in G-sharp minor, BWV 887, is the eighteenth prelude and fugue in the second volume of The Well-Tempered Clavier by Johann Sebastian Bach. It was written in 1738. It was written in 1738.
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