Foley-Baker, Kotzschmar Memorial Organ, Part 1

An analysis by Michael McNeil from data published in 2016 by William Drake, Ltd., Organbuilder

Editor’s note: The Diapason offers for the first time here a new feature at our digital edition—two sound clips. Any subscriber can access this by logging into our website (www.thediapason.com), click on Current Issue, View Digital Edition, scroll to this page, and click on <soundclip> in the text.

John Snetzler

Much has been written about Johann Sebastian Bach’s Toccata and Fugue in D Minor, BWV 565, and it seems that everything has been said. The work is considered an outstanding example of stylus phantasticus, a style of composition that encourages rhythmic and harmonic freedom. Effects play a greater role than contrapuntal substance, and in this respect BWV 565 has always been admired.

The Art of the Fugue, part III

This month’s installment picks up exactly where last month’s left off.

Notes on the Individual Movements

Contrapunctus 1 is a four-voice fugue on the original and simplest form of The Art of the Fugue theme (Example 1). There is no regular countersubject. The mood is forthright and powerful, but with underlying calm.

Lewtak Pipe Organ Builders, Inc., Mocksville, North Carolina; Seven Oaks Presbyterian Church, Columbia, South Carolina

Music director’s perspective