Bach – Toccata & Fugue, Passacaglia, Air on the G string .. (reference recording: Leopold Stokowski)

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Bach – Toccata & Fugue, Passacaglia, Air on the G string .. (reference recording: Leopold Stokowski)

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Johann Sebastian Bach (1685-1750) Transcriptions by L.Stokowski for Orchestra.
*Click to activate the English subtitles for the Presentations*
00:00 Toccata & Fugue in D minor, BWV 565 *Presentation (00:00-01:00)*
09:32 Passacaglia & Fugue in C minor, BWV 582 *Presentation (09:32-10:40)*
24:13 Air on the G string (from Orchestral Suite No. 3, BWV 1068)
This celebrated Aria for Strings from the Suite No. 3 in D was composed in Bach’s late period, some time after 1723. It was arranged as the “Air on the G String” by the 19th-century violinist August Wilhelm. As the Aria was the second movement of the Suite, it was intended to be slow and dignified. At its outset, the Aria is serious in mood, but presently moves into a somewhat brighter though still sedate portion, and then concludes with a return to the grave atmosphere.
The melody has been termed sublime, and is one of the most beloved shorter pieces in all of Bach’s work.
31:12 Shepherd’s Song (from Christmas Oratorio, BWV 248)
The Christmas Oratorio, a cycle of six cantatas, was composed in 1734, in the composer’s fiftieth year. This Shepherd’s Song, or Pastoral, is the instrumental introduction to the second cantata. Originally scored for two flutes, two oboi d’amore, two oboi da caccia, and strings, the only alterations here are the usual substitutions of the modern oboes and English horns, and the use of more strings. The serene character of the music portrays the shepherds on their night watch, just before the appearance of the Angel of the Lord (Luke 2:8). It seems to describe the earth, silvered by silent moonlight, asleep and at peace—in token of the universal rest which this “night of nights” promised for all mankind.
40:42 Sarabande (from Violin Partita in B minor, BWV 1002)
Bach’s six Partitas for unaccompanied violin resemble the suites for harpsichord in that they contain movements of contrasting tempo, often based on dance forms. The sarabande was a dance of Spanish origin and was of such a rude and wild character that it was once banned by the dour Spanish king, Philip Il. Following a mysterious path of evolution probably imposed by an unfriendly environment, the sarabande assumed a slow, subdued character, moving in courtly elegance. In this Sarabande, Bach voiced a broad, soaring melody above simple counterpoint in double stops. In his transcription Mr. Stokowski has realized the implicit harmonies and contrapuntal voices in a quiet and still-chaste cantabile for strings and woodwinds with gentle harp arpeggios.
45:13 “Little” Fugue in G minor, BWV 578
In no other work of Bach is the art of the fugue so clearly defined, though short in time, the “Little” Fugue in G Minor has been termed by Mr. Stokowski “one of Bach’s greatest creations.” In the orchestral transcription of this fugue for organ, the subject is announced by the oboe, soon answered by the English horn. These two instruments are gradually joined by other instruments, singly and in groups; the contrapuntal texture becomes richer, and development sequences explore different aspects of the easily recognized subject. Short as the work is, Bach reaches a monumental conclusion, expressed here in the full sonorities of the modern orchestra.
49:05 Preludio (from Violin Partita No.3, BWV 1006) *Presentation (49:05-50:07)*
52:49 Bourrée (from English Suite No.2, BWV 807)
About 1725 Bach composed for harpsichord six suites of dance movements which have been dubbed “English Suites.” This Bourrée is a fast-paced example of the early French dance that was once the favorite of Louis XIV. In this orchestral setting violins and flutes carry most of the melodic burden, in the spirit of a stylish dance at the court of le roi-soleil.
56:15 ‘’Komm, süsser Tod,’’ BWV 478
In it’s quiet somber expression, this poignantly beautiful chorale melody conveys an acceptance, not a fear, of death. This, indeed is the personal Bach, speaking simply and directly of a deeply felt human experience.
1:02:09 ‘’Mein Jesu, was für Seelenweh befällt dich in Gethsemane,’’ BWV 487
*Presentation (1:02:09-1:03:10)*
1:07:15 ‘’Ein’ feste Burg ist unser Gott’’ (from Cantata No.80, BWV 80)
*Presentation (1:07:15-1:07:35)*

Symphony Orchestra
Conductor : Leopold Stokowski
Recorded in 1957-58, at New York
New mastering in 2022 by AB for CMRR
Find CMRR’s recordings on Spotify: https://spoti.fi/3016eVr

Here are some of Bach’s most famous and beautiful works. Leopold Stokowski, a very controversial conductor, made it known to the general public thanks to Disney’s Fantasia. Stokowski’s transcriptions are today references that many conductors have subsequently performed.

Johann Sebastian Bach PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB

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