J. S. Bach - Toccata for Clavier in G Major (Gould, Gillham)

Johann Sebastian Bach - Toccata in G Major, BWV 916
Performed by:
Glenn Gould:    • Toccata in G Major, BWV 916 (2015 Remaster...  
Jayson Gillham:    • Bach Toccata in G major, BWV 916 - Jayson ...  

The toccata as a genre originated in Italy in the middle of the sixteenth century. It was an improvisatory, often virtuosic piece in so-called stylus phantasticus that consisted of multiple sections sharply contrasting in tempo, dynamics and texture. The seven clavier toccatas have a special place in Bach’s repertory because they were not composed as a requirement for any of his duties. What instrument they were originally intended for remains continuous source of discussion, both organ and harpsichord are considered options. They represent a synthesis of Italian, French and German style and are based upon the seventeenth century toccatas of Girolamo Frescobaldi, Johann Jakob Froberger and Dietrich Buxtehude. Though currently known under the collective title, there is no evidence that Bach intended his toccatas to be a set.

I (Allegro)
The joyful first movement of this Toccata is built upon a coherent tonal design, exploiting the closely related major and minor keys that are heard in sections clearly separated by authentic cadences. The movement starts firmly rooted in tonic by a descending G major scale in the keyboard’s top register. Throughout the movement, the scales and the broken chords will become a recurring, unifying element of the Allegro.

II (Adagio)
Due to its high expressiveness and recitative-style manner, the central movement of Bach’s G major Toccata has been frequently compared with the Adagio from the Italian Concerto; This toccata was most likely written during Bach's Weimar period when he was getting familiar with the Italian-style concerto by transcribing instrumental works by Albinoni, Vivaldi and Telemann. Bach colors the harmonies by frequent suspensions, neighbor tones and non-harmonic notes. The slow tempo suggests a certain freedom for the performer in the realization of ornaments.

III (Allergro e presto)
The final movement of Bach’s Toccata BWV 916 is an energetic, three-voice fugue in 6/8 meter and given the tempo marking Allegro e presto. Despite its contrapuntal framework, the fugue’s skipping, dotted rhythms correspond with the French canarie or gigue. Bach mostly exploits the head motive of the subject and the scalar passages, using imitations, frequent sequencing and stretto, the later being rather uncommon for fugues written by Bach.
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