Reid Simmons Senior Recital Program Notes Toccata, Adagio, and Fugue in C BWV 564, J.S. Bach Johann Sebastian (1685-1750) Bach was a significant composer of the Baroque era, whose fame is based on perfect mastery of counterpoint and harmony, with complicated musical structures. Among his works, the Toccata, Adagio, and Fugue in C major, BWV 564, represents his virtuosity for organ. Written in the early 1700s, it shows the impressive ability Bach possessed to fuse many musical styles into a large work. With fast, virtuosic passages full of dramatic flourishes and technical demands, the Toccata is a favorite of many organists. The work opens with improvisatory-like figures that set the tone for the whole composition. In contrast, the Adagio is a slow, and more lyrical which offers flexibility for the organist to improvise embellishments, stretching time and mood. The closing Fugue is another example of contrapuntal skill from Bach. The subject is rhythmic and playful while adhering to the complex harmony rules of Bach’s time. This work is often considered a prime example of Bach's early style. While it is mostly performed on organ, the work has been transcribed for many other instruments. The Toccata, Adagio, and Fugue in C major stands strong within the organ canon and continues to entice musicians and audiences to this day. Sonata 1, Paul Hindemith Paul Hindemith (1895-1963) was a German composer, violist, and conductor; he is considered one of the most important innovators in 20th-century music. His Organ Sonata No. 1, written in 1937, is a milestone in the modern organ repertoire and demonstrates his neoclassical style. Hindemith had great interest in counterpoint and structure, which becomes apparent through the course of the sonata's four movements. The first movement is marked Mäßig bewegt, Lebhaft (somewhat moving, lively), and within this movement are interesting harmonies and musical lines that showcase Hindemith's approach to dissonance and resolution. The second movement, Sehr Langsam (very slow), is intriguing in character and the rhythm is sophisticatedly explored by Hindemith. The third movement Phantasie Frei (free fantasy) features the most dissonance and rhythmic drive throughout the piece. This movement implements the same dissonant (some may even say eerie) motive that culminates in a broad set of chords. The final moment, Ruhig Bewegt (moving quietly) is similar to the first movement, however, this movement features motives from the past three movements in rhythm, melody, and harmony. Hindemith's Organ Sonata No. 1 is a work demanding not only technical virtuosity but also an intellectual approach. Although it was written near the beginning of World War II, the sonata is timeless, mixing modern harmonic language with traditional forms. Hindemith offers the organist a piece that can fully explore all colors the organ has to offer.
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