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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. [2]
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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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]
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 subject of the fugue is composed of three separate motifs, all of which can be found in canzonas and ricercars. The 19th-century Bach scholar Philipp Spitta praised the fugue, particularly its modulations. Williams has suggested that "perhaps the imaginative penultimate bar was inspired by J. S. Bach". [8] [3] Prelude and Fugue in A minor ...
Bach extracted the second movement from his Sonata No. 1 in G minor for solo violin, BWV 1001, written in 1720, and rewrote it; it is not clear that it was intended for the lute. [2] No definitive manuscript version exists today, although there is a contemporary copy in tablature, possibly made by Bach's lutenist friend, Christian Weyrauch.
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