Toccata and Fugue in D minor, BWV 565 First Publication : 1831
The name “Toccata” is most probably a later addition, similar to the title of Toccata, Adagio and Fugue, BWV 564, because in the Baroque era such organ pieces would most commonly be called simply Prelude (Praeludium, etc.) or Prelude and Fugue. Composer Johannes Ringk’s copy abounds in Italian tempo markings, fermatas(a characteristic feature of Ringk’s copies) and staccato dots, all very unusual features for pre–1740 German music.
German organ schools are distinguished into north German (e.g. Dieterich Buxtehude) and south German (e.g. Johann Pachelbel). The composition has stylistic characteristics from both schools: the stylus phantasticus, and other north German characteristics are most apparent. 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. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel’s D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well. At the time it was however common practice to create fugues on other composers’ themes.
