What is the instruments in Toccata and Fugue?
What is the instruments in Toccata and Fugue?
Toccata and Fugue in D Minor for Organ, BWV 565, arranged for orchestra by Leopold Stokowski, 1882-1977. Scored for 4 flutes, 2-3 oboes, English horn, 2-3 clarinets, bass clarinet, 2-3 bassoons, contrabassoon, 4-6 horns, 3 trumpets, 3-4 trombones, tuba, tympani, celesta, 2 harps, and strings.
How many voices does the Fugue in D minor have?
This fugue has four distinct voices or parts. Some fugues have three voices and some more than four, but each voice is equal in importance and follows the same rules.
What is dynamics of Bach Toccata and Fugue in D minor?
Dynamics: Many times this piece is loud (forte), but at other times it gets very soft (piano). Most often it is loudest when the pedals are being played.
What is the form of Toccata and Fugue in D minor?
BWV 565
The “Toccata and Fugue in D Minor, BWV 565” follows a simplified structure, typical to north-German pieces – comprising of a free “opening section,” a “fugal section,” and culminating in a short free “closing section.”
Who is the conductor of the Toccata and Fugue in D minor?
Master of ceremonies Deems Taylor arrives and delivers an introduction to the film. Stokowski appears and begins conducting the first strains of his own orchestration of the Toccata and Fugue in D Minor, by Johann Sebastian Bach (originally written for solo organ).
What is the story behind Toccata and Fugue?
Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger, who worked for a brief time on this segment. The animation segues back into the live-action footage of Stokowski as the piece concludes, setting the precedent for the rest of the musical numbers.
What’s it like to make records with the Philadelphia Symphony Orchestra?
To make records with the Philadelphia Symphony Orchestra is as thrilling an experience as any artist could desire. Unquestionably, they are the finest orchestral combination in the world: even the famous New York Philharmonic, which you heard in London under Toscanini last summer, must, I think, take second place.