TOCCATA AND FUGUE IN D MINOR, BWV 565

The '''Toccata and Fugue in D minor''', BWV 565, is a piece of organ music written by Johann Sebastian Bach sometime between 1703 and 1707. It is one of the most famous works in the organ repertoire, and has been used in a variety of popular media ranging from film, video games, to rock music and Halloween.

Score

Toccata

As indicated by the accepted title of the piece, the ''Toccata and Fugue'' is scored in D minor. It is not in C dorian as the key signature supposes, as it was common practice in the Baroque period to write in leading tone accidentals (B flat in the relative major) rather than in the key signature. It begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the octave. It then spirals toward the bottom, where a diminished seventh chord appears, built one note at a time. This resolves into a D major chord, taken from the parallel major mode.

The opening of J.S. Bach's Toccata and Fugue in D minor, BWV 565.

Fugue

The fugue is written in four voices on a subject made up entirely of sixteenth notes. The subject pulls away in successive degrees from an implied pedal point.

Compositional process

Influence of other composers

The source of the rhapsodic treatment that is apparent in Bach's earlier organ works is not so hard to find: Bach was a great admirer of Dieterich Buxtehude in his early years. In 1706 he even absented several months from his job in order to hear Buxtehude in Lübeck.

Title page of BWV 565 in Johannes Ringk's handwriting

First page of BWV 565 in Ringk's handwriting

Buxtehude's organ works, like those of his contemporaries, are characterized by the presence of the ''stylus phantasticus'', a performance style derived from improvisation. The ''stylus phantasticus'' included elements of excitement and bravura, with adventurous harmonies and sudden changes in registration. Buxtehude's free organ works made great use of these elements. These works generally began with a free section, followed by an imitative section (sometimes a full-blown fugue), then another free section, and then another imitative section (usually based on motivic material from the first imitative section), and finally another free section. BWV 565 derives several of its stylistic elements from this earlier form of organ music, in particular the ''stylus phantasticus''.

The organ test hypothesis

The exceptional number of fermatas and broken chords in the ''Toccata and Fugue'' BWV 565 has been explained by some (for example, Klaus Eidam; see references below) on the supposition Bach composed it as a work to test an organ, a task he was regularly asked to perform. The first thing Bach is said to have done when testing an organ is to pull out all the stops and play in the fullest possible texture, in order to see if the organ had "good lungs," i.e., bellows sufficient enough to provide plenty of wind to the instrument. If there was not enough wind, the pitch and tone quality would suffer. The opening of BWV 565, with its three opening flourishes and massive rolled chord, would serve as a good test for an organ's winding system.

The alternate authorship hypothesis

Some musicologists, such as Peter Williams, argue that the Toccata is not by Bach.^[1] In support of this view, he cites the following:

★ There is no autograph score.

★ The copyist who created the oldest known manuscript (Johannes Ringk, 1717-1778) was a student of Bach's, who had access to some of the Bach manuscripts and whose reputation is dubious: he is believed to have passed off inauthentic (as well as authentic) works under the composer's name.

★ The work abounds in fermatas and dynamic markings, not ordinarily used in organ music in Bach's day. (But Bach even in this time was unusual in the fact that he used heavy ornamentation).

★ Lastly, Williams alleges that various musical passages in the work are simply too crude musically to have been Bach's work.
Williams's views have more recently been endorsed in a book-length study by the musicologist Rolf Dietrich Claus, cited below.
This view is further endorsed by the presence of undisguised consecutive fifths in the piece which Bach was normally careful to avoid. Even if the piece were a transcription of a solo instrumental work, these fifths still form an integral part of the work.

Problems with the alternate authorship hypothesis

★ Renowned Bach scholar Christoph Wolff and others argue that the work is by Bach, and is probably a transcription of an organ improvisation of the sort he used when testing organs, perhaps originating very early in his career, from the 1700s.^[2]

★ Similarly, Helmut Walcha, considered by some the most respected 20th century authority on Bach's organ works, also regarded the Toccata and Fugue as the original work of J.S. Bach. Even though Walcha was known to only include pieces that were undoubtedly authentic in his Bach organ recordings,^[3] the Toccata and Fugue in D minor appears in both of his complete recordings of Bach's organ works.

★ In the Fugue, the F major episode (an elaboration of the Fugue subject) is nearly note for note identical with a passage found in a Fantasia in d minor by Johann Pachelbel. The original passage by Pachelbel is the source for Subject of Bach's Fugue and as used in the F major episode, possibly as an homage to the composer. As noted in J S Bach's obituary it was common practice for Bach to use another's composer's work as the inspiration for his own. (The Passacaglia and Fugue in C minor BWV 582 first half of the Basso Ostinato are taken form Andre Raison's G minor Passacaglia for Organ, The F Major 2 part invention is theme is derived from a G minor Concerto theme by Vivaldi, and numerous Organ Fugues were written on a number of Italian Composers themes; the term "Bach the Borrower" was coined as a result). Pachelbel was a good friend to J S Bach's father Johann Ambrosius Bach, was tutor to the Bach family's children during his stay in Eisennach, and later during his long tenure in Erfurt became godfather to Johann Ambrosius' daughter, Johanna Juditha (J S Bach's older sister), and taught Johann Christoph Bach. Johann Christoph Bach was tutor to his younger brother after the death of J A Bach. The collection of J C Bach's music would be the most likely source for exposure to the Pachelbel piece. The Pachelbel Fantasia is not among the pieces published during Pachelbel's lifetime; consequently would not be widely known. The other possible source of exposure to the Pachelbel Fantasia would be from Johann Walter, J S Bach's cousin. Walter (nicknamed by Mattheson as the second Pachelbel)received his musical training from Johann Henricus Buttstett, a student of J. Pachelbel. It is very unlikely that Johannes Ringk, or Ringck, (1717 - 1778) would have directly had knowledge of Pachelbel's work. Johannes Ringk studied Organ with Johann Peter Kellner (who met both J S Bach and Handel) and may have had been a pupil of Bach (a likely assumption as most of Bach's manuscripts exist as copies by his students). J P Kellner is an important source for many Bach Manuscripts, particularly of keyboard and organ works. J. Ringk is most remembered today for the numerous copies he made, often the only now remaining of works by more notable composers. Amongst these copies in his hand are Johann Sebastian Bach's cantata BWV 202 and the oldest copy of the famous Toccata and Fugue in D minor, BWV 565. It is possible that these copies were made from now lost manuscripts in Kellner's collection. "The copies in Ringks's collection are today one of the most important sources of Bach's work. "Retrieved from "http://en.wikipedia.org/wiki/Johannes_Ringk""

★ There is no proof that J Ringk was a pupil of Bach as Peter Williams contends."

★ Very few of Bach's organ works survive in autograph score and many were discarded after they had been stylistically or structurally superseded as Bach's composition style matured.^[4]

★ Although it is true that Bach almost always avoided consecutive fifths and octaves, since these lead to a lack of distinction between individual parts, his use of them would have been logical if he was simply trying to increase the volume (and wind usage) of the piece, as suggested by the organ test hypothesis. J S Bach wrote Consecutive fifths (which he later corrected and formed hidden octaves, another error) in the Fifth Brandenburg Concerto which features Violin, Flute, and Harpsichord as the solo instruments. (See, The Six Brandenburg Concertos, Dover reprint of the Bach Geschellschaft Edition, Preface, list of variants from the MS. for Brandenburg Concerto number 5.) Bach uses imperfect consecutive (similar motion) fifths, (diminished Fifth to Perfect Fifths) in his vocal works. These imperfect similar fifths are not avoided by Bach unless they appear between the soprano and bass. (See The Contrapuntal Harmonic Technique of the 18th Century, page 38, Allen Mc NcHose, 1947, F. S . Crofts & Company, New York.)

★ Williams contradicts his own alternate authorship hypothesis when he argues that the Toccata and Fugue was transcribed by Bach from an earlier work for Violin (see below).

★ The allegation that "various musical passages in the work are simply too crude musically to have been Bach's work" is highly subjective. In fact, this allegation could be considered rather specious when it is considered that the piece may well have been partly or mostly improvisational.^[5]

The violin transcription hypothesis

Williams hypothesized that the Toccata was not originally written for organ, but in fact is a transcription of a work for solo violin. Williams places this original violin work a fifth higher, in the key of A minor, so that the work begins on a high E and descends almost to the lowest note on the instrument:

Peter Williams's conjecture about how the opening of the Toccata and Fugue appeared in an earlier violin version

Under this account, aspects of the work fall into place.

★ The fairly plain musical texture would reflect the general texture of Bach's well known solo sonatas and partitas for violin, which often convey a contrapuntal texture implicitly, rather than through double stopping.

★ Various passages echo a violin technique in which sixteenth notes (semiquavers) are played by alternating between strings—Williams's conjectured key of A minor places many of these notes on an open string, which would fit with other passages in Bach's solo violin works.

★ The use of parallel octaves in the opening, otherwise unusual in Bach's music, would be a natural way to give greater weight to a solo violin line.

★ The passage at m. 137 seems to suggest quadruple-stopped chords on a violin.

Peter Williams's conjecture about how a passage of the Fugue appeared in an earlier violin version

Williams put his theory into practice by writing a reconstruction of the conjectured original violin work, which has been performed (by violinists Jaap Schröder and Simon Standage) and published.^[6] The violinist Andrew Manze subsequently produced his own reconstruction, also in A minor, which he has performed widely and recorded.
The possibility that the Toccata is a violin-to-organ transcription is supported by the fact that, at least twice in his career, Bach is known to have transcribed solo violin works for organ. The Prelude first movement of the Partita in E major for solo violin, BWV 1006, was converted by Bach into the solo organ part of the opening movement of the Cantata BWV 29 ''Wir danken dir, Gott, wir danken dir''. Bach also transcribed the Fugue movement of his Sonata in G minor for solo violin BWV 1001 as organ music, namely as the second half of the Prelude and Fugue in D minor for organ, BWV 539.

Problems with the violin transcription hypothesis

★ As noted previously, no score of any sort survives for the hypothetical violin work from which the Toccata was supposedly transcribed, and if there is any indication in period documents of the existence of such a work, Williams neglects to mention it.

★ Quadruple stopped chords are rare in works of Bach's time and prohibitively difficult to play on a modern instrument. Further, the subjective argument on Williams' behalf that "The passage at m. 137 seems to suggest quadruple-stopped chords on a violin" is contradicted by the statement that solo sonatas and partitas for violin "often convey a contrapuntal texture implicitly, rather than through double stopping."

★ The allegation that the parallel octaves "would be a natural way to give greater weight to a solo violin line" is highly speculative, since their use would require most of the piece to be played in continuous double stopped chords, a contingency unprecedented in Bach's solo violin works. The use of parallel octaves is more simply explained by the organ test hypothesis.

★ Although the Toccata can be played on solo violin by transposing the key and arpeggiating the larger chords, it is difficult to imagine how the corresponding Fugue could have ever been played on a single violin.

Transcriptions

This popular work has been transcribed many times, primarily for the goal of expanding the use of the work to new audiences. The following are some notable examples.

Piano

Around the end of the 19th century a "second wave" Bach revival occurred (the first having been the one launched earlier in the 19th century by Mendelssohn among others). In the second wave, much of Bach's instrumental music was adapted to resources that were available in ''salon'' settings (piano, chamber ensemble, etc.). The composer and pianist Ferruccio Busoni (1866-1924) was a leader of this movement, providing many piano transcriptions of Bach compositions, many of which radically altered the original version. Among them was a loud and virtuosic version of the ''Toccata and Fugue''. An earlier virtuoso piano transcription also once much in vogue was by Carl Tausig (1841-1871); pianist Marie Novello chose it for what one source ([1]) claims to be the ''Toccata and Fugue's first recording, although the same source's assertion about the record's extreme rarity is probably open to question. Among other arrangements that have appeared on record are those by Percy Grainger and Ignaz Friedman.

Orchestra

Another Bach-revival wave announced itself in the 20th century. For this wave, which was probably the first major Bach wave in the United States, Walt Disney was instrumental: Disney favoured classical music, and after including potpourri bits of classical music in most of his animation film scores, he tried out a more in-depth approach with Dukas's ''The Sorcerer's Apprentice'', which led to the project he considered one of his most important endeavours ever: ''Fantasia''.
This film opens with Leopold Stokowski's orchestral transcription (for a very extended orchestra) of the ''Toccata and Fugue'', as an example of absolute music (i.e. where there is no extra-musical image built into the music itself). Stokowski's rendering breathes a very ''romantic'' interpretation of Bach's music, making it into a showpiece of orchestral color, virtuosity, and sheer volume: at the time he had produced his transcription (1927) ideas about authentic performance were still more than half a century away, and nothing much had changed in that respect by the time ''Fantasia'' was released (1940).
Stokowski's version inspired other settings for large orchestra of Bach's music, particularly his organ compositions. Eugene Ormandy released an album of such works, reviving, together with some fresh arrangements, Elgar's Op. 86, a pre-Stokowski orchestration of the ''Fantasia and Fugue in C Minor'' BWV 537, enriched with abundant harp strokes (Vinyl album reference: ''Bach: Orchestral Works'', Philips Favourite Series - Minigroove 33^1/3 - S 04614 L).

Flute

In 1993 Salvatore Sciarrino made an arrangement for solo flute of BWV 565. This transcription was recorded in the early 21st century by Mario Caroli (released on Zig Zag Territoires: ZZT 040802). A review by Peter Grahame Woolf of this interpretation can be found here: http://www.musicalpointers.co.uk/reviews/cddvd/SciarrinoBachCaroli.htm

Brass

The Canadian Brass ensemble performed an arrangement of BWV 565 arranged by former member Fred Mills, which appeared on the album 'The Pachelbel Canon and Other Great Baroque Hits', released in 1980. A review by Daniel Shearer of a 1999 concert featuring a performance of this interpretation can be found here: http://www.canbrass.com/reviews/reviews-10.html

Concert Band

Merlin Patterson created an arrangement of BWV 565 for Concert Band which was performed by the Duncanville High School Wind Ensemble during their Texas 5A Honor Band concert at the 1998 Texas Music Educators Association Convention.

Doublebass alone

Transcription by Mauricio ROMERO for doublebass alone (Paris 2003) [2]

Popular culture

This piece is likely Bach's most famous work; not only is it a favorite of classical music enthusiasts, it is one of the few pieces recognizable to the general public. It has found its way into a wide variety of mediums, influencing musicians, composers, and arrangers in various genres in a classic example of crossover.
Musical critics have also admired the work. For instance, it is described by Uwe Kraemer as having "ecstatic technical virtuosity and [also] mastery of form" and by Hans-Joachim Schulze as having "elemental and unbounded power ... that only with difficulty abates sufficiently to give place to the logic and balance of the Fugue". While it is not an easy work to perform on the organ, it ''is'' one of the easier of Bach's preludes and fugues. For the most part, Bach's organ music became increasingly more difficult to play as his life went on, and the "Toccata and Fugue in D Minor" was written very early in his career.
Virgil Fox performed a series of concerts of Bach organ works for rock music audiences in the 1970s ("Heavy Organ"), one of which included a dramatic performance of the ''Toccata and Fugue'', to illustrate his view that Bach's music should be interpreted using all the available modern resources, as opposed to using only the means of expression that would have been available in Bach's time.

Films

The Toccata and Fugue can be heard in a wide variety of films, including but not limited to ''Fantasia'' (see above), ''The Black Cat'', ''The Raven'', ''Rollerball'', ''Sunset Boulevard'', ''20,000 Leagues Under the Sea'', ''Monty Python's The Meaning of Life'', ''The Aviator'' (an orchestral version), ''La dolce vita'', ''Dr. Jekyll and Mr. Hyde''[3], ''Tales from the Crypt'', and the 1962 film ''The Phantom of the Opera''.
One of the gags in ''The Great Race'' has Jack Lemmon's character Professor Fate perform the Toccata on an organ, then leave the instrument to dine whilst the music continues, revealing that it is a "player" organ with a piano roll. Captain Nemo can be heard playing this work in the 1954 ''20,000 Leagues Under the Sea'' film. Parts of the ''Pirates of the Caribbean 2'' soundtrack mirror the piece. A section of "The Kraken" resembles the opening measures sans the rests, and the track "Davy Jones" is played on a pipe organ in a similar vein to Toccata and Fugue.

Television

★ Once Upon a Time... Man: In the title sequence

★ Smallville: In the Season 6 episode, ''Promise'', a piece of it plays when Lex kills his doctor in a church crypt.

★ Sailor Moon: The song is used as the theme of the Dark Kingdom, and reappears several times, notably in S as Eudial torments Sailor Uranus and Neptune, in the episode 'The Purity Chalice', and in Sailor Stars when Eternal Sailor Moon loses her powers in the Nehellenia arc.

★ Countdown with Keith Olbermann: In the segment "Worst Person in the World."

★ Kim Possible: In the episode Stop Team Go, for the scenes where Ron Stoppable is transformed into an evil version of himself.

★ The Ren and Stimpy Show: The episode Haunted House, during the opening title sequence.

★ Naruto: The fugue is adapted in the theme and fighting tunes of Orochimaru, written by Toshiro Masuda.

★ Initial D: The first two bars are used to acknowledge the appearance of Nakazato Takeshi's GT-R.

★ The first seven notes of the piece (counting three notes for the adagio) are used to lead into the Addams Family Theme in The Addams Family cartoon from the early to mid-nineties.

★ Similar to Eddie Van Halen's Jump, the song plays in various episodes in Airos Adventures. It plays whenever Death (Personification) appears, nightmares, Psycho Rats, apocalyptic disasters, and is used in the Haloween special. Its also Bonsly's greatest fear.

Video, Arcade, and Pinball Games

★ On the "Abbey" map of the Quake III total conversion mod Urban Terror a sample of ''Toccata and Fugue'' can be heard playing when standing near the cathedral.

★ A rock remix of ''Toccata and Fugue'' comprises the soundtrack for ''Gyruss''.

★ A unique rendition of the Toccata's opening plays on the high-score entry screen of the Williams arcade game ''Defender''.

★ The opening sequence of the song plays at the start of ''Donkey Kong Junior'', ''Dark Castle'', and ''Beyond Dark Castle''.

★ The opening sequence also plays in the Game Genie program for the NES when the program first starts.

★ A version of the song is played when visiting a god or goddess in ''The Battle of Olympus'' for the NES.

★ A level of the Super NES video game '' features the piece.

★ In '', the Toccata is used in the prologue, when Wright has a nightmare about the Judge. The Toccata is also used as the character Richard Wellington's ringtone later in the same case, and plays when he nearly strangles himself at the end of the case. The nightmare from the first case also recurs at the very end of the game, just before the last day of the final case's trial, complete with the Toccata.

★ The theme song of the evil character Golbez in ''Final Fantasy IV'' features part of this song.

★ Part of this song can be heard in the boss battle theme in the video game ''Final Fantasy VIII''.

★ In the ''Dragonball Z'' OVA, '', composer Shunsuke Kikuchi gained inspiration from this piece. References to the Toccata and Fugure can be heard when Hatchhyack appears in a powerful android body that nearly defeats the Saiyan warriors.

★ Beautiful Day remixed ''Toccata and Fugue'' for an online music game called ''O2Jam''.

★ Another remix of this song, titled "Toccata and Funk", appears in ''Boom Boom Rocket'' for the Xbox 360.

★ The PC game ''Peggle Deluxe'' features the opening sequence of the Toccata for Renfield's "SpookyBall" special ability.

★ The PC/Mac OS game features an edited version of the Toccata in menu music.

★ The pinball game Haunted House uses segments of the Toccata at game start, during game play, and at the finale ^[7]

★ The score to the Commodore 64 game Killer Watt written by Tony Crowther ^[8]

★ One of the duet songs played by a bard and dancer (Down Tempo) in the game Ragnarok Online is the Toccata and Fugue in D minor.

Popular music

★ Jon Lord made an extension of this piece for, and performs on, rock group (electronic organ, electric guitar, electric bass guitar, drum set). It is the track called "Bach onto This" of the album "Before I Forget."

★ ''Fugue In D Minor'', released by Egg on their debut album, is a progressive arrangement of the ''Toccata and Fugue''

★ ''It Is Not Sound'' by Ulver, released on album Blood Inside, is heavily based on ''Toccata and Fugue''.

★ Linda Brava released her version of the ''Toccata and Fugue'' in 1997, and the version got a critical acclaim. It can be heard on her debut album called Linda Lampenius.

★ Vanessa-Mae recorded a version for her album ''The Violin Player'' (1994/1995). Vanessa Mae's version of the ''Toccata and Fugue'' also appeared in several remixes (by Bobby d'Ambrosio, Lectroluv, etc.).

★ Sky, guitarist John Williams's instrumental group, recorded the piece in 1980, with the main instrument being the electric guitar (played by Kevin Peek, also credited with the arrangement). The single reached the heights of the singles charts in several European countries in the summer of 1980. This spawned many imitations over the next decade or so.

★ "Imitation Situation" by Fever Tree (San Francisco Girls) (1967) opened with the opening figure of the toccata.

★ The Swollen Members's song "Steppin Thru" contains a re-written version of the opening of the toccata as a bassline throughout the song.

★ The Eurobeat song by Mega NRG Man, "Back On The Rocks", features the opening of the Toccata as its intro.

★ The Band's organist Garth Hudson played part of the Toccata for the famous opening solo on Chest Fever from Music From Big Pink.

★ Mötley Crüe used it as an introtape to their concert at the 1983 US Festival in San Bernardino, California.

★ Björk's song "Cover Me" from the ''Post'' album in the string quartet and vocal version opens with the Toccata's beginning sequence, performed by a violin.

★ Myleene Klass, former member of the British manufactured pop group Hear'Say, also covered ''Toccata and Fugue'' through use of the Piano which can be heard here.

★ American heavy metal band Cirith Ungol recorded a guitar and bass rock arrangement of Toccata on their album ''King of the Dead''.

★ A section of this piece was also used by Ritchie Blackmore, during his time as guitarist with Rainbow, on the Rainbow song "Death Alley Driver".

★ "Bach Doors Man" by Sugarloaf 1970

★ Japanese visual-kei band Malice Mizer integrated the main theme of the fugue into the piece 聖なる刻永遠の祈り (''Seinaru Toki Eien no Inori'') on their Baroque-influenced 薔薇の聖堂 (''Bara no Seidou'') album. Played on violins, the theme is accompanied by electric guitar, bass, tympani, and additional percussion.

★ Kazakhstani folk metal band Ulytau features a heavy metal violin rendition of the piece with strong use of percussion on their 2006 Jumyr-Kylysh album.

★ Enigma (band) used Toccata and Fugue in the song "Back to the Rivers of Belief." It is played on the organ at the beginning of the last movement of the song, "The Rivers of Belief." From the first album MCMXC A.D..

★ The Muse song ''In Your World'' opens with portions of Toccata, first in piano then in guitar.

★ John Cale opens "Chinese Takeaway (Hong Kong 1997)", from 1985's ''Artificial Intelligence'', by quoting the Tocatta.

★ Blondie samples the song in her 1999 hit single "No Exit".

Other references

On pre-GSM Nokia phones, the Fugue ringtone is a one-voice remix of the fugue section.

References

Scholarly

★ Claus, Rolf-Dietrich. ''Zur Echtheit von Toccata und Fuge d-moll BWV 565'', Verlag Dohr, 2nd ed. Cologne, 1998. ISBN 3-925366-37-7.
:: A comprehensive text dealing with authorship issues. See Yo Tomita's review.

★ Fox-Lefriche, Bruce. "The greatest violin sonata that J.S. Bach never wrote", ''Strings'' xix/3:122, October 2004, 43-55.

★ Williams, Peter. "BWV 565: a toccata in D minor for organ by J. S. Bach?", ''Early Music'' 9, July 1981, 330-337.
:: A free summary is available at BachFAQ.org.

General reading

★ Druckenbrod, Andrew. "A haunting tune, but is it really Bach's?", Pittsburgh Post-Gazette, October 30, 2005.
:: A summary of the authorship issue for the layperson.

★ Eidam, Klaus. ''The True Life of J. S. Bach'', New York: Basic Books, 2001, tr. Hoyt Rogers. ISBN 0-465-01861-0.
:: Chapter 4 focuses on this piece. The book, however, may not be factually accurate; see Yo Tomita's review.

Notes

1. "BWV 565: a toccata in D minor for organ by J. S. Bach?", ''Early Music'', vol. 9, July, 1981, pp. 330-337.
2. Wolff alludes to factors arguing for Bach's authorship, such as stylistic points, in an interview about Bach's organ works on the DVD recording ''21st century Bach'' by John Scott WhiteleyHe further discusses the issue with musical examples in his 2001 biography, "Johann Sebastian Bach - The Learned Musician" (ISBN 0199248842, p.72)].
3. Walcha, Helmut. "Bach: Das Orgelwerk 1957-42" liner notes.
4. See Peter Williams's book ''The Organ Music of J. S. Bach'', ISBN 0521891159 for a detailed assessment of the matter under discussion.
5. Wolff, Christoph. "Johann Sebastian Bach - The Learned Musician" (ISBN 0199248842, p.72)].
6. New York Times review of a Standage performance: "It sounded disconcertingly effective"
7. [4] Haunted House by Gottlieb
8. [5] Tony Crowther - a legendary pioneer at The Commodore Zone

External links

Sheet music

★ Sheet music for BWV 565

★ - with a Solo Piano Transcription by Busoni.

Recordings

★ Free download of BWV 565

★ Free mp3 of BWV 565

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