In his critical commentary for Breitkopf & Härtel's 21st-century revised edition of the score, Jean-Claude Zehnder narrows the time of origin of the manuscript down to around the middle of the first half of the 1730s, based on an analysis of the evolution of Ringk's handwriting.  However, according to 21st-century statistical analysis, Wilhelm Friedemann was even less likely to have been the composer of the Fugue than Kellner.  In the words of Jean-Claude Zehnder, who was sympathetic towards the violin version reconstruction: "The matter still remains open, despite the scholarly discourse that began in 1981.  Some musicians, such as Karl Richter, who did not record organ performances very often, included BWV 565 in their anthologies. This is corroborated by the fact that the subject of the fugue, and certain passages (such as bars 12–15), are evidently inspired by string music.  Shortened to two minutes in length, BWV 565 was used as the introductory theme for the French animation Once Upon a Time... Man, in 26 episodes between 1978 and 1981. 676: Organ Toccata & Fugue: Pianoforte Solo (Bach, Tausig), Toccata and Fugue in D minor (Stokowski transcription), Toccata and Fugue in D minor, BWV 565 (9:22), Bach: Toccata in D minor (A Hi-Fi Adventure), CD 2, No. The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach (1685–1750). "The early works and the heritage of the seventeenth century" in Butt 1997, Marx, Adolf Bernhard (1795-1866), 1833 (score) (can't find this print source on OPAC-RISM catalog).  There are some errors in the score such as note values not adding up to fill a measure correctly. in the RISM catalogue, Ringk created his copy between 1740 and 1760. d. 3: Toccatas & Fugues en ré mineur bwv 565 – en fa majeur bwv 540 / Préludes & Fugues en do majeur bwv 545 – en mi majeur bwv 533 – Fugue en sol mineur bwv 578, Toccata & Fugue en ré mineur bwv 565 (8:42), Johann Sebastian Bach: Toccata & Fuge / Famous Organ Works, Toccata & Fugue in D minor, BWV 565 (8:56), Toccata & Fugue / Passacaglia / Fugue / Concerto / Fantaisie & Fugue, Toccata & Fugue BVW 565 – Preludes & Fugues BVW 532 & 552 – Fantasia BWV 572 – Pastorale BVW 590, CD 151 – Organ Works: Toccata & Fuga BWV 565/Concerto BWV 594/Praeludium & Fuga BWV 548/"Allein Gott in der Höh' sei Ehr" BWV 711–715/717 (issued. This section segues into the third and final section of the Toccata, which consists almost entirely of a passage doubled at the sixth and comprising reiterations of the same three-note figure, similar to doubled passages in the first section. Bach scholars like Christoph Wolff defended the attribution to Bach.  It is used "without irony and in an apocalyptic spirit updated from its earlier Gothic implications" at the beginning and end of the 1975 dystopian science fiction film Rollerball. The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner. Stephen A. Crist.  However, the numerous recitative stretches are rarely found in the works of northern composers and may have been inspired by Johann Heinrich Buttstett, a pupil of Pachelbel, whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. , After 1936, another approach to using BWV 565 in film was under consideration. Other commentators ignored the doubts over its authenticity, or considered the attribution issue undecided.  US record companies seemed faster in putting BWV 565 forward as Bach's best known organ piece. The opening number, the "Toccata and Fugue," will be absolute music—music that exists for its own sake—and will try to depict what might go on in the mind of the person listening to it. for the opening baroque mordent of J. S. Bach's Toccata.  Immediately after the final subject entry, the fugue resolves to a sustained B♭ major chord.  However, Billeter's argument makes authorship by Bach more likely: Bach's harpsichord toccatas (most of them early works) have simplistic elements and quirks similar to BWV 565. Most score editions of BWV 565 use the D minor key signature, unlike Ringk's manuscript. Pirro supposes Bach had success with this music in the smaller German courts he visited.  Half a decade later, BWV 565 was further questioned.  By the end of the century, hundreds of organists had recorded BWV 565. It could have been as early as c. 1704.  In 1846, C. F. Peters published the Toccata con Fuga as No. , In the early 1910s, Albert Schweitzer collaborated with Charles-Marie Widor to compile a complete edition of Bach's organ compositions, published by Schirmer. Davies, Antony (1961). 0 Comments. 193–211 in Stauffer/May 1986. In his autobiographical book written with De Rosa (2019), Morricone wrote that, "The death ritual carried out in a church convinced me to use the Bach quotation and the organ. , Spitta also detects a rhythmic figure that appears briefly in the concluding part of the work (bar 137) which, extensively elaborated, reappears in the keyboard Prelude in A minor, BWV 922, a work he supposes to have been composed around 1710.  In Karl Hermann Bitter's 1865 Bach-biography, BWV 565 is only listed in an appendix.  The reworked edition of this book, in one volume, appeared in 2003, and devotes more pages to discussing the authenticity and possible prior versions of BWV 565. For BWV 565 that means staying close to the Ringk manuscript. , BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section.  In C. L. Hilgenfeldt's biography it is merely listed among the published works. It could have been as early as c. 1704. It then spirals toward the bottom, where a diminished seventh chord appears (which actually implies a dominant chord with a minor 9th against a tonic pedal), built one note at a time. From then on the work has been simply BWV 565, and the other, the so-called "Dorian", has been BWV 538. Another piece listed as Bach's was also known as Toccata and Fugue in D minor, and was equally entitled to the "Dorian" qualification. , In Hubert Parry's 1909 Bach biography, the work is qualified as "well known" and "one of the most effective of [Bach's] works in every way". By the time Disney's Fantasia was released in 1940, the animations accompanying BWV 565 had been made semi-abstract, although Fischinger's original idea that the performance of the music start with showing Stokowski directing his orchestra was preserved.  Likewise, whether the more elaborate stylistic evidence was considered conclusive or merely circumstantial, depended on who was trying to prove what. , The first major public performance was by Mendelssohn, on 6 August 1840, in Leipzig. , In 1935 Hermann Hesse wrote a poem about the piece, "Zu einer Toccata von Bach" (On a toccata by Bach), which contributed to its fame. Walter Emery advocated that scepticism was a necessary condition to approaching the history of Bach's organ compositions, and Friedrich Blume saw problems with the traditional historiography of Bach's youth. Of Mendelssohn's prophecy that it was something for both the erudite and the masses, only the latter part had been fulfilled. A single dramatic ground-thought unites the daring passage work of the toccata, that seems to pile up like wave on wave; and in the fugue the intercalated passages in broken chords only serve to make the climax all the more powerful.