832:, an organist, artist and writer. His friendship with the Schumanns and Mendelssohn and the Bach library he had assembled with them enabled Laurens to become one of the main experts on Bach organ works in France. 40 years later, Laurens' brother recalls their lunchtime conversation. In semi-serious banter, Liszt demonstrated three ways of playing the A minor fugue, a work that Laurens said was so hard that only Liszt might be the only one capable of tackling it. Liszt first gave a straight rendition, which was a perfect classical way of playing; then he gave a second more colourful but still nuanced rendition, which was equally appreciated; finally he provided a third rendition, "as I would play it for the public ... to astonish, as a charlatan!" Laurens then writes that, "lighting a cigar that passed at moments from between his lips to his fingers, executing with his ten fingers the part written for the pedals, and indulging in other tours de force and prestidigitation, he was prodigious, incredible, fabulous, and received gratefully with enthusiasm."
228:.) However, the idea of any close relationship (let alone a reincarnation) has been challenged. Williams writes that the fugue "has often been likened to the keyboard fugue BWV 944 and claimed as some kind of version of it the resemblances – contours of subject and countersubject, a perpetuum mobile element, a rather free close – are too slight" to support the comparisons. Williams also cites similarities "between the subject’s outline and that of the A minor Fugue BWV 559, or between the pedal figures in both Preludes' closing stages in the Prelude’s opening figure, in a Corrente in Vivaldi’s Op. 2 No. 1, of 1709, and in a Fugue in E minor by Pachelbel." Aside from Williams' observations about the fugue subject, the fugues BWV 543 and 944 differ in their larger outlines: their harmonic structure and the series of expositions and episodes are not parallel.
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608:. In his introduction Stinson writes that experiencing these works "through the eyes and ears of these four titans immeasurably increases one's appreciation of the music." He picks out the fugue of BWV 543, nicknamed "The Great", as a quintessential example: its performance on the organ, where Mendelssohn effortlessly mastered the pedalwork; the fugue as a compositional model for both Mendelssohn and Brahms; the piano transcription regularly played by Liszt and Brahms; and the actual publication of Liszt's transcription, which inspired budding pianists. Women also played an important role:
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509:. In this case the fugal entry plays between the highest and lowest parts on the manuals. There is then an episode involving circle of fifths; an answering entry on bar 71 in the highest part; a pedal point in the lowest manual part, above a circle of fifths episode; and finally, as the lowest part is silenced, a duet between the upper parts, with a further restatement of the fugal theme in the lower part followed by another circle of fifths episode.
979:); as Anderson concludes, "The brevity of Reger’s “essay,” however, does not prevent the emergence of certain themes that are developed at greater length elsewhere in his writings: the nature of progress, the “illness” of contemporary musical culture, German nationalism, the guilt of the critics." In his much cited response, Reger wrote: "Sebastian Bach is for me the Alpha and Omega of all music; upon him rests, and from him originates,
788:, both Bach devotees. Three years later, writing to Pictet from Rome, Liszt praised the "magnificent" Six Fugues, offering to send him a copy if he lacked one. During his period in Rome, there was a service at the church of the French Embassy, where Liszt performed one of Bach's fugues: according to Stinson, Liszt is unlikely to have had the pedal technique required for any of the Great Six, so almost certainly it was one of the
195:: the earlier version is 43 bars long, while the later version is 53 bars long. The main differences occur in bars 1–6 of BWV 543a/1 and bars 1–9 of 543/1 where the descending semiquaver broken-chord figures are altered and truncated. The same applies for the corresponding passages for bars 17–18 in BWV 543a/1 and bars 26–28 in BWV 543/1. In addition the triplet semiquavers in the later prelude are notated as demisemiquavers. As
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321:; this is followed by a very free peroration. Features which distinguish Bach's writing from seventeenth-century compositions include its regular tempo throughout; the careful planning of climaxes; the well-judged changes from semiquavers, to semiquaver triplets and then demisemiquavers. After bars 36, there are semiquaver motifs in the manuals answered by similar motifs in the pedals: there are
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620:, who played the fugue in piano arrangements either together or with their brother Felix. As further evidence of the reputation of the fugue, Stinson observes that, "Schumann attended and reviewed Mendelssohn's only public performance of the movement, Liszt heard Clara play her piano transcription of it, and Clara eventually played Liszt's transcription."
900:, attested to his pleasure in hearing or speaking about the fugue, be it at a Weimar dinner party in his honour, where students sang it together, or in a masterclass discussing its performance. As Stinson points out, "Liszt's lifelong advocacy of this movement—as a performer, transcriber, and teacher—is surely one reason for its enduring popularity."
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cannot mean that the early version is wrong or that the composer was mistaken. In the later version Bach was thinking on a larger scale and was considering the fugue and companion movement on a similarly large scale The simplest way of extending the early prelude was to double the note values of the passages cited and thus make its flow more even."
1027:, permitted rapid changes of dynamics and orchestral colour. In the case of the fugue of BWV 543, this drew criticism, even amongst ardent supporters of Straube, when unorthodox registration resulted in a perceived sacrifice to clarity during brilliant passage work. In 1913 a new edition of Bach's complete organ works was published by
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class that it would have been “sinful” of him to add dynamic markings to the score of the A-minor fugue, since “the great Bach” had written none himself." Even in his later years, Liszt's A minor fugue remained one of his favourites: when he was invited to play at a private evening concert, with guests of honour
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passage: the pedal starts to play the fugue theme as usual, only to be taken up by the true fugue theme, off the beat and in the lowest manual part. Between bars 113 and 115, there is a further fugal entry in E minor in the middle manual part. Finally, at bar 131, there is the last fugal entry in the
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There is a pedal point for four bars, with the upper manual parts accompanying the arpeggio motifs in the lowest manual part; that is followed by solo arpeggio pedalwork for seven bars; then, in a virtuosic cadenza-like coda, the regular semidemiquaver passage-work in the highest part leads up to an
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There are two versions of the
Prelude, both dating from the same period in Weimar (1708–1713). The versions of the fugue are identical, whereas the two versions of the prelude are distinct, the first version BWV 543/1a is shorter and presumed to be the earlier. The sources for BWV 543 are summarised
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real progress! What does—pardon, what should—Sebastian Bach mean for our time? A most powerful and inexhaustible remedy, not only for all those composers and musicians who suffer from “misunderstood Wagner,” but also for all those “contemporaries” who suffer from spinal maladies of all kinds. To be
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in 1844 to describe the frenzy generated by his Berlin audiences, even amongst the musically informed. Liszt performed the A minor fugue regularly in Berlin between 1842 and 1850. During this period there were reports that Liszt resorted to stunts in front of live audiences, which prompted possibly
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has pointed out that the catchy "lengthy sequential tail" of this fugue subject (its last 3 bars) "easily confuse the ear about the beat" and is harmonically an exact "paraphrase" of the sequence in bars 6-8 of
Vivaldi's double violin concerto Op. 3 No. 8 in A minor (RV 522, from L'estro armonico).
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last, altering the standard order in most of the editions for organ. With his view that Bach was "the St. Thomas
Aquinas of music," Liszt ultimately had an almost religious zeal for respecting the score as written by Bach. As Stinson concludes, "over thirty years later Liszt commented to his piano
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There is a four and half bar episode, developing the exposition, with the 3 manual parts in the countersubject and busy arpeggiated sequences in the pedals. The lower manual part then remains silent, as new freely developed thematic material begins: first in parallel sixth semiquavers in the upper
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observes, "The more serious question concerning the opening passage of the prelude in its early and later versions is the fact that Bach changed his demisemiquavers to semiquavers and in doing so preserved a calmer mood and a less rhapsodic feeling in the music; this change, however, does not and
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has pointed out that the same features are also present in the later version BWV 543/1. These include solo passages at the start; semiquaver passages with hidden two- or three-part counterpoint in both the manuals and pedals; virtuosic demisemiquaver passages with trills leading to a cadence; and
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and author of a two-volume monograph on Bach. Their collaboration not only involved concert tours, but a special "Bach–Reger–Musikfest" in June 1913, organized as the fifth
Heidelberg Music Festival. As a Bachian, organist and composer, Reger's views on Bach reception, in particular his public
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in 2001, commentators agree that the professional copyist must have enjoyed a close relationship with C. P. E. Bach. The other secondary source for BWV 543 came through the copyist Johann
Gottfried Siebe and Kirnberger. The manuscript became part of the Amalienbibliothek, the music library of
883:. In his book, Stinson gives the A minor prelude of BWV 543 as the main example for how the process works, with particular attention given to how the pedal part can be filled in from the right hand. In the published version of Peters, Liszt chose to place the B minor prelude and fugue,
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1047:, re-establishing his career as an organist. In 2018, Dean Billmeyer, from the same university and a former organ pupil of Fleischer, wrote an account on the performance tradition of Straube, accompanied by performances from Germany, including a recording of BWV 543 from the
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and then, after a lengthy demisemiquaver embellishment over a tonic pedal point, are heard again in the pedal. The highly embellished cadence that follows—full of manual runs over sustained pedal notes—leads into a contrapuntal exploration of the opening material in
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Already in 1836, early in his career, it is known that Liszt had developed a reverence for Bach's great "six preludes and fugues", BWV 543–548, or "The Great Six" fugues as they became known in the nineteenth century. In fact the previous year Liszt had eloped to
855:, where in 1848 he was appointed to be Kapellmeister at the Grand Duchy, the same role once filled by Bach. He initially was there for 13 years. Later he also divided his time between Budapest and Rome, teaching masterclasses. His new mistress was Princess
477:, ornamented on the last beat for the cadence). The highest part now sounds the fugal theme, with simple accompaniment from motifs in the other upper manual part and the pedal: their trio is truncated by a further hemiola with ornamental cadence.
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956:, the Italian composer and fellow Bach transcriber, that, "It’s too bad that Franz Liszt did such a bad job on his transcriptions of Bach’s organ pieces—they’re nothing but hackwork." In 1905 Reger became the regular piano partner of
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1023:, in 1907 Reger also succeeded in securing a teaching position at the Leipzig conservatory. Straube's organ playing reflected late-romantic style: as in Reger's works, his use of the Walze and Swell roller mechanisms, pioneered by
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points out that this kind of gimmickry was not uncommon at that time: "Indeed, is reported to have accompanied
Joachim in the last movement of Mendelssohn's Violin Concerto with a lighted cigar in his right hand the entire time!"
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running semiquaver and demisemiquaver figures throughout, including at the start and in the coda. The traditional aspects are the semiquaver arpeggiated passage work with its "latent counterpoint" which incorporates a descending
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896:, Liszt's first choice was the fugue and in his letter of thanks disclosed that Clara Schumann now as matter of course played his transcription rather than her own. In the 1880s, American pupils of Liszt, particularly
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The lowest manual part enters in the dominant key, with a disguised version of the head-motif of the fugal theme. The pedal part remains silent, while, led by the lowest manual parts, the upper parts together play
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chords and downward sequences, especially in its later half. Due to the sequential nature of the subject, the majority of the fugue is composed of sequences or cadences. The Fugue ends in one of Bach's most
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1031:, edited by Straube, with detailed instructions on organ technique, following his methods. After Reger's death in 1916, a series of Straube's pupils in Leipzig helped maintain that tradition, despite the
163:, written around 1725 and also now in the Berlin State Library. An additional source is the score made by the copyist Michael Gotthardt Fischer; it is now stored in the Irving S. Gilmore Music Library of
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1153:, released one year earlier. He remarked "fter reflecting further on this resemblance, I then realized that the other theme as well was derived from my own idealization of Johann Sebastian Bach's
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lowest manual part. After each of these fugal entries, episodes are freely developed over brief pedal points. In bars 132–134, the rising quaver scales in the pedals lead up to the final section.
1043:, he was informed that two fingers of his left hand would have to be amputated, one completely and the other partially. Despite his injuries, he moved through US university appointments to the
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Fugue in A minor, BWV 944, a 3-voice fugue that was probably written in 1708, and this organ fugue has even been called "the final incarnation" of BWV 944. (A similarity had been mentioned by
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There is an exposition for each of the four parts, three in the manuals and one in the pedal, each lasting four and a half bars with a connecting half bar. The main subject starts with a
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manuals accompanied by quaver motifs in the pedals; and then with briefly semiquaver motifs in the pedals before a three bar trio between the upper parts and pedal, leading to a
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792:. When Liszt moved to Berlin in 1841, the first concerts where his new piano transcriptions of the Great Six were heard were at the beginning of 1842, with the E minor fugue of
863:; their companionship continued until Liszt's death. After three months in Woronińce, Liszt set to work on preparing the transcriptions of BWV 543–548. He chose the edition of
1007:. They immediately shared an affinity for Bach's works and, in turn, Straube became Reger's most important promoter. In 1903 Straube had gone to teach at the conservatory in
764:, Liszt's reaction had been, "Hm, dry as bones." Nevertheless, as far as Bach's music is concerned, Liszt became highly influential as a performer, transcriber and teacher.
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1294:"Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Johann Jacob Froberger: The Dissemination of Froberger's Contrapuntal Works in Late Eighteenth-Century Berlin"
143:; it is now in the Berlin State Library. There is an additional source from the copyist Joachim Andreas Dröbs whose score for BWV 543 formed part of a collection by
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151:. The sources for BWV 543a, which is presumed to be an earlier version of BWV 543 differing markedly from the prelude but identical to the fugue, originate in
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The versions of the 4-part fugue for BWV 543a and BWV 543 are identical; it lasts 151 bars. The theme can be traced back to Bach's organ concerto in A minor
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gives the technical details of the different stages of transcription, which started from simple notes in
Haslinger's score: these are recorded in the
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1998:
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In his book on the reception of Bach's organ works in nineteenth-century
Germany, the musicologist Russell Stinson immediately singles out
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Carl Voigt (1808–1888) made an arrangement of BWV 543 for piano duet around 1834, for the publishing company of Georg
Heinrich Hedler in
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Sechs
Praeludien und Fugen für die Orgel von Johann Sebastian Bach [BWV 543–548], eingerichtet für das Pianoforte zu vier Händen
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776:, with whom they eventually had three children. After the birth of their first child, Liszt asked his mother in 1836 for his copies of
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During that period, as a travelling musician, Liszt's pianistic pyrotechnics proved a huge attraction for concert-goers. The term
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As a child, Liszt had been instructed by his father to master the keyboard works of Bach, with daily exercises on fugues from the
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This passage, for keyboard alone, is a new restatement of the fugue theme in C major, the relative major. The manual entry is
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122:. The copyist associated with C. P. E. Bach has only been identified as "Anonymous 303"; the manuscript is now housed in the
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748:). As a concert pianist, however, Liszt was not drawn to the organ. In 1857, having attended a Bach organ recital at the
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in response to the new fugal entries. After the entries by the two higher voices, there is an episode in bars 11–14 as a
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Anderson, Christopher S. (2004). "Reger in Bach's Notes: On Self-Image and Authority in Max Reger's Bach Playing".
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1074:(1788–1867) made one of the first four-hand piano transcriptions of BWV 543 in 1832 for the Viennese publisher
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1086:. There was also a four-hand piano arrangement of BWV 543–548 in 1832 by an unknown copyist, now held in the
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in New York, contains ten pieces, with a high level of difficulty. While making the transcription in 1895 in
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as a starting point, although probably also consulted the 1844 Peters edition. He was aided by the copyist
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are known to have played in private or performed in public Bach organ works arranged for two pianos or
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According to David Schulenberg, the main sources for BWV 543 can be traced to the Berlin circle around
1656:, p. 114 See "Letters of composers" (1946) compiled by Gertrude Norman and Miriam Lubell Shrifte.
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1945:"Sebastian Bachs Orgelfugen für das Pianoforte : zu 4 Händen eingerichtet, A-Wn Mus. Hs. 20274"
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The Creative Development of Johann Sebastian Bach, Volume I: 1695–1717: Music to Delight the Spirit
1035:, the German organ reform movement that had started in the 1920s. One of Straube's Leipzig pupils,
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Beechey, Gwilym (1973). "Bach's A Minor Prelude and Fugue: Some Textual Observations on BWV 543".
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has seen elements of northern traditions of the early Prelude BWV 543a/1 typical of the school of
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as a highly reputed pianist and fellow advocate of Bach; and Mendelssohn's accomplished sisters,
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included it in his transcriptions of the "six great preludes and fugues" BWV 543–548 for piano (
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play this piece freely, and in a variety of tempi; it can be easily transcribed to a different
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Bach arranged this Vivaldi concerto as his solo organ "concerto" BWV 593, probably in 1714–16.
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in the section above. The differences between the two versions of the prelude are discussed in
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in English, with "synoptic view" facility for split-screen viewing of BWV 543/1 and BWV 543a/1
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which is curtailed by descending sequential arpeggiated figures. There is also a simultaneous
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341:, however, it is the systematic use of motifs that establish a particular musical mood. The
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Sechs Praeludien und sechs Fugen für Orgel oder Pianoforte mit Pedal [BWV 543–548]
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from the original on 7 October 2008. Score of Liszt's transcription (in various formats).
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580:. Unlike most of Bach's minor-key keyboard works, it ends on a minor chord rather than a
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major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805
2167:"Ennio Morricone: 10 (little) things you may not know about the legendary film composer"
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BWV 543. In search of originality, I found myself trapped in one of my deepest loves."
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969:, in 1905, Reger was one of several German musicians, artists and critics surveyed by
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with a cadence on the tonic A minor (thus, in the baroque musical style, two beats of
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Introduction to early 20th-century historical performance practice, as prescribed in
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has described the relation between BWV 543 and the main themes of certain films he
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and for piano solo. The four-hand arrangement of BWV 543 comes from his collection
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From pipe organ to pianoforte: the practice of transcribing organ works for piano
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Johnston, Blair (2005). Woodstra, Chris; Brennan, Gerald; Schrott, Allen (eds.).
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as an "ambiguous tango." Later he realized that it reminded him of the theme of
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In 1847, exhausted by his years on the concert circuit, Liszt retired to the
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in Leipzig, with a medium level of difficulty. The album was republished by
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All Music Guide to Classical Music: The Definitive Guide to Classical Music
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1999:"Bach, J.S., Sechs Preludien und Fugen fĂĽr Orgel (vierh. f. Klav. bearb.)"
1080:"Sebastian Bachs Orgelfugen für das Pianoforte: zu 4 Händen eingerichtet,"
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1974:"Sebastian Bachs Orgelfugen für das Pianoforte: zu 4 Händen eingerichtet"
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The Altenburg, residence of Liszt and Princess von Sayn-Wittgenstein in
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and the Great Six. In the same year Liszt became close to the circle of
432:'s concerto for two violins, Op.3, No.8, RV 522, part of his collection
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for the “critical wisdom” of the eighteenth and nineteenth centuries."
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while performing in the region. While there, he met up with his friend
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Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769
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In 1898, before any recognition for his music, Reger had travelled to
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Heinrich Fleischer: The Organist's Calling and the Straube Tradition
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deserved charges of charlatanry. In August 1844, Liszt stayed in
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bass line. The semiquaver figures begin as a solo in the manual:
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The lead does not summarize any of the key points of the article.
735:), composed in 1839–1840 and published in 1852 by C. F. Peters.
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from the French "in the waist," a tenor voice often played on a
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Max Reger and Karl Straube: Perspectives on an Organ Performing
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The reception of Bach's organ works from Mendelssohn to Brahms
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made a number of arrangements of Bach's organ works, both for
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of all important aspects of the article. The reason given is:
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Morricone described the main musical theme for the 1970 film
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352:
183:, copied by Joachim Andreas Dröbs in the early 19th century,
965:
writings, are well recorded in the literature. According to
567:. The fugue theme, like that of the prelude, is composed of
409:
175:
135:
102:
sometime around his years as court organist to the Duke of
1516:
2299:"Bach/Liszt: The Great Prelude & Fugue in a, BWV 543"
91:
1882:
Anderson, Ames; Backer, Bruce; Luedtke, Charles (2006).
355:
could be considered a later product of Bach's maturity.
216:
This 4-voice fugue BWV 543 has been compared to Bach's
2097:
Bach Organ Works Transcribed for Piano Duet, 2 Volumes
1003:
to hear a recital of his works by the Berlin organist
179:
Prelude in A minor, BWV 543/1, from the collection of
3083:
1881:
1809:'Modern' Organ Style in Karl Straube's Reger Editions
1499:: Liszt's piano transcriptions of BWV 543–548 at the
439:
The fugue can be broken up into sections as follows:
1586:"Johann Sebastian Bach, Präludium und Fuge, A-Moll"
413:Bach's fugue in A minor, BWV 543, copied c 1725 by
325:effects similar to those found in chorale prelude
2468:Eight Short Preludes and Fugues, BWV 553–560
3107:
3026:Concerto transcriptions, BWV 592–596 and 972–987
2443:Fantasia and Fugue in G minor ("Great"), BWV 542
2433:Toccata and Fugue in D minor ("Dorian"), BWV 538
2083:(in German). Expedition der Signale. p. 22.
1535:
1533:
1531:
1529:
1527:
859:, who lived in a country estate at Woronińce in
2926:Capriccio on the departure of a beloved brother
2496:Prelude (Toccata) and Fugue in E major, BWV 566
2463:Prelude and Fugue in E minor ("Wedge"), BWV 548
2328:Prelude and fugue for organ in A minor, BWV 543
1884:"Nunc Dimmitis, obituary of Heinrich Fleischer"
1773:
1771:
1769:
1270:Extended footnote 1, with references in German.
1193:
1191:
1189:
1104:and reputed Bach copyist, arranged BWV 543 for
2501:Fantasia ("Pièce d'Orgue") in G major, BWV 572
1863:Anderson, Ames (2006b). "Heinrich Fleischer".
1321:
1187:
1185:
1183:
1181:
1179:
1177:
1175:
1173:
1171:
1169:
1112:), in a two volume album published in 1846 by
1100:Franz Xaver Gleichauf (1801–1856), a pupil of
337:. For both of these chorale preludes from the
66:Composition for organ by Johann Sebastian Bach
3063:List of compositions by Johann Sebastian Bach
2482:Toccata, Adagio and Fugue in C major, BWV 564
2363:
1524:
1203:"Preludes and Fugues (Praeludia) BWV 531–552"
587:
3068:List of fugal works by Johann Sebastian Bach
1766:
628:Through their connection with the publisher
126:. Although less prolific than copyists like
1625:
1623:
1621:
1490:
1242:
1240:
1238:
1166:
3073:List of concertos by Johann Sebastian Bach
2370:
2356:
1144:Investigation of a Citizen Above Suspicion
527:emphatic closing cadence in the minor key.
2511:Passacaglia and Fugue in C minor, BWV 582
2404:Fugue in G minor, BWV 131a
2289:International Music Score Library Project
2196:
2093:
2073:"35. Pianoforte vierhändig, Bach (J. S.)"
2070:
1928:
1862:
1694:
1597:
1501:International Music Score Library Project
1461:
1459:
966:
515:The first bars of this section involve a
1833:
1777:
1726:"Reger's Bach and Historicist Modernism"
1665:
1629:
1618:
1551:
1387:
1235:
1197:
917:
907:
839:
806:
655:
651:
408:
296:
192:
174:
70:
2134:
2122:
1968:
1939:
1659:
1653:
1539:
1497:Preludes and Fugues by J.S. Bach, S.462
1465:
1425:
1365:"Prelude, a (early version) BWV 543/1a"
1337:. Vol. 2, Preludes and Fugues II.
1065:
975:on J.S. Bach's contemporary relevance (
872:
833:
681:Liszt's transcription of BWV 543 (9:58)
196:
109:
3108:
2865:Fantasia and Fugue in C minor, BWV 906
2477:Fantasia and Fugue in C minor, BWV 562
2428:Fantasia and Fugue in C minor, BWV 537
1909:
1834:Anderson, Christopher S., ed. (2013).
1723:
1552:Anderson, Christopher S., ed. (2013).
1456:
42:Please consider expanding the lead to
2631:Overture in the French style, BWV 831
2592:English Suites, BWV 806–811
2587:Inventions and Sinfonias, BWV 772–801
2487:Toccata and Fugue in D minor, BWV 565
2458:Prelude and Fugue in C minor, BWV 546
2453:Prelude and Fugue in B minor, BWV 544
2448:Prelude and Fugue in A minor, BWV 543
2438:Toccata and Fugue in F major, BWV 540
2423:Prelude and Fugue in D major, BWV 532
2418:Prelude and Fugue in C major, BWV 531
2351:
2285:Prelude and Fugue in A minor, BWV 543
2223:(including BWV 543–548). Recorded on
2049:
1806:
1580:
1291:
1246:
1137:. In Alessandro De Rosa's 2019 book,
1124:
623:
2597:French Suites, BWV 812–817
2506:Fugue in G minor ("Little"), BWV 578
1327:
1279:
1001:St. Paul's Church, Frankfurt am Main
800:and the A minor fugue of BWV 543 in
231:
15:
2569:Wo Gott der Herr nicht bei uns hält
2141:. Translated by Maurizio Corbella.
1827:
1129:The Oscar-winning Italian composer
988:. That Bach could be misjudged for
811:Caricature of a Liszt concert, 1842
13:
2919:Aria variata alla maniera italiana
2640:Well-Tempered Clavier, BWV 846–893
1331:(2014). Schulenberg, David (ed.).
1139:Ennio Morricone: in his own words,
1011:, where he became organist at the
952:, Reger commented dismissively to
669:
549:, unlike the prelude, which is in
365:
243:
14:
3142:
3116:Preludes by Johann Sebastian Bach
2242:
2138:Ernio Morricone: In his own words
576:-like, virtuosic cadenzas in the
3093:
1910:Schenk, Kathryn Eleanor (1989).
986:authentically German, unyielding
894:Princess Marie of Saxe-Altenburg
706:Problems playing this file? See
685:
381:
345:-like Prelude in A minor—in the
308:
259:
20:
3121:Fugues by Johann Sebastian Bach
2970:Prelude, Fugue and Allegro in E
2870:Toccatas, BWV 910–916
2602:Partitas, BWV 825–830
2538:Great Eighteen Chorale Preludes
2159:
2128:
2116:
2087:
2071:Gleichauf, Franz Xaver (1846).
2064:
2043:
2017:
1991:
1962:
1933:
1922:
1903:
1875:
1856:
1800:
1717:
1695:Anderson, Christopher (2006a).
1688:
1647:
1574:
1545:
1505:
830:Jean-Joseph Bonaventure Laurens
715:Because of the piece's overall
473:are replaced by three beats of
141:Princess Anna Amalia of Prussia
34:may be too short to adequately
2268:"Prelude and fugue, a BWV 543"
2094:Gleichauf, F. X., ed. (1962).
1778:Anderson, Christopher (2003).
1697:Selected Writings of Max Reger
1630:Rollings, Benjamin D. (2020).
1419:
1381:
1357:
1306:Riemenschneider Bach Institute
1285:
1273:
857:Carolyne von Sayn-Wittgenstein
44:provide an accessible overview
1:
1836:Twentieth-Century Organ Music
1554:Twentieth-Century Organ Music
1334:Complete Organ Works – Urtext
1207:The Organ Music of J. S. Bach
2859:Chromatic Fantasia and Fugue
2135:De Rosa, Alessandro (2019).
1219:10.1017/CBO9780511481871.004
903:
877:Goethe- und Schiller-Archive
236:
88:Prelude and Fugue in A minor
7:
2983:Prelude in C minor, BWV 999
2516:Concertos, BWV 592–597
2102:International Music Company
1752:10.1525/ncm.2001.25.2-3.296
1744:10.1525/ncm.2001.25.2-3.296
1118:International Music Company
1078:. The original manuscript,
10:
3147:
3033:KlavierbĂĽchlein W. F. Bach
2990:Fugue in G minor, BWV 1000
2890:Harpsichord solo concertos
2319:: CS1 maint: postscript (
2190:
1211:Cambridge University Press
1082:has been digitised by the
588:Reception and arrangements
358:
185:Leipzig University Library
170:
149:Leipzig University Library
3058:
2999:
2963:Suite in C minor, BWV 997
2948:Suite in E minor, BWV 996
2943:Suite in G minor, BWV 995
2935:
2579:
2396:
1466:Stinson, Russell (2006).
1084:Austrian National Library
128:Johann Friedrich Agricola
116:Carl Philipp Emanuel Bach
75:Detail of Great Organ of
3013:: Prelude and Fugue in E
2547:Sei gegrĂĽĂźet, Jesu gĂĽtig
2197:Billmeyer, Dean (2018).
2060:: Georg Heinrich Hedler.
2025:"D-B Mus.ms. Bach P 925"
1345: 979-0-004-18373-1.
1160:
1015:and later, in 1918, the
890:Prince Albert of Prussia
756:, which captivated both
203:
3131:Compositions in A minor
2878:, BWV 933–938
2143:Oxford University Press
1916:University of Minnesota
1813:University of Amsterdam
1724:Frisch, Walter (2001).
1612:University of Rochester
1604:Eastman School of Music
1474:Oxford University Press
1350:in German and English.
1256:Oxford University Press
1102:Johann Nepomuk Schelble
1045:University of Minnesota
960:, director of music at
940:, published in 1896 by
145:Johann Christian Kittel
132:Sing-Akademie zu Berlin
3126:Compositions for organ
3048:Twelve Little Preludes
2250:Bach, Johann Sebastian
1339:Breitkopf & Härtel
1329:Bach, Johann Sebastian
992:long, is the greatest
984:“Bachian” means to be
938:Ausgewählte Orgelwerke
925:
915:
848:
812:
674:
664:
417:
370:
331:Passacaglia, BWV 582/1
248:
226:Bach-Werke-Verzeichnis
187:
84:
2389:Johann Sebastian Bach
2280:; et al. 14 May 2019.
1807:Adams, David (2007).
1682:10.1093/musqtl/gdh026
1669:The Musical Quarterly
1377:; et al. 14 May 2019.
1292:Ishii, Akira (2013).
962:Heidelberg University
921:
911:
843:
810:
741:Well-Tempered Clavier
673:
660:Franz Liszt in 1839,
659:
652:Liszt's transcription
412:
369:
247:
178:
100:Johann Sebastian Bach
74:
2562:, BWV 1090–1120
2413:Sonatas, BWV 525–530
2334:website (recordings)
2201:. Rondeau Production
2199:"Straube plays Bach"
2050:Voigt, Carl (1834).
2003:Berlin State Library
1608:Sibley Music Library
1258:. pp. 179–186.
1248:Jones, Richard D. P.
1088:Berlin State Library
1066:Other transcriptions
778:The Art of the Fugue
398:, village church of
276:, village church of
161:Johann Peter Kellner
124:Berlin State Library
110:Versions and sources
81:Gottfried Silbermann
3040:Notebook A. M. Bach
2896:Goldberg Variations
2876:Six Little Preludes
2560:Neumeister chorales
2262:: Tobias Haslinger.
1842:. pp. 76–115.
871:at various stages.
348:stylus phantasticus
157:Johann Ludwig Krebs
2540:, BWV 651–668
2532:, BWV 645–650
2524:, BWV 599–644
2378:Compositions for
2340:(free download of
2145:. pp. 66–67.
2081:Jahrbuch fĂĽr Musik
1731:19th-Century Music
1641:Indiana University
1542:, pp. 102–125
1213:. pp. 92–95.
1125:In popular culture
1037:Heinrich Fleischer
926:
916:
849:
813:
675:
665:
624:Mendelssohn family
424:, transcribed for
418:
371:
249:
222:Wolfgang Schmieder
188:
94:543 is a piece of
85:
77:Freiberg Cathedral
3081:
3080:
3011:Clavier-Ăśbung III
2956:
2912:
2905:
2850:
2848:No. 24 in B minor
2843:
2830:
2817:
2804:
2802:No. 12 in F minor
2797:
2790:
2783:
2770:
2757:
2750:
2738:
2725:
2712:
2710:No. 16 in G minor
2705:
2703:No. 10 in E minor
2698:
2685:
2672:
2659:
2652:
2624:
2617:
2610:
2567:Chorale fantasia
2530:SchĂĽbler Chorales
2492:
2473:
2409:
2384:keyboard and lute
2058:Frankfurt am Main
1865:Choir & Organ
1436:(1566): 831–833.
1429:The Musical Times
1228:978-0-521-89115-8
1150:The Sicilian Clan
1095:Frankfurt am Main
690:
642:Felix Mendelssohn
594:Felix Mendelssohn
400:GroĂźhartmannsdorf
386:
278:GroĂźhartmannsdorf
264:
232:Musical structure
208:The musicologist
120:Johann Kirnberger
64:
63:
3138:
3098:
3097:
3096:
3089:
3051:
3042:
3035:
3028:
3021:
3018:
3017:
2992:
2985:
2978:
2975:
2974:
2965:
2952:
2908:
2901:
2884:Italian Concerto
2846:
2840:
2839:
2833:
2827:
2826:
2820:
2814:
2813:
2807:
2800:
2795:No. 6 in D minor
2793:
2788:No. 5 in D major
2786:
2780:
2779:
2773:
2767:
2766:
2760:
2755:No. 2 in C minor
2753:
2748:No. 1 in C major
2746:
2735:
2734:
2728:
2722:
2721:
2715:
2708:
2701:
2695:
2694:
2688:
2682:
2681:
2675:
2669:
2668:
2662:
2657:No. 2 in C minor
2655:
2650:No. 1 in C major
2648:
2620:
2613:
2606:
2545:Chorale partita
2490:
2471:
2407:
2391:
2372:
2365:
2358:
2349:
2348:
2324:
2318:
2310:
2287:: Scores at the
2281:
2263:
2237:
2210:
2208:
2206:
2185:
2184:
2182:
2180:
2163:
2157:
2156:
2132:
2126:
2120:
2114:
2113:
2091:
2085:
2084:
2068:
2062:
2061:
2047:
2041:
2040:
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2036:
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2015:
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1995:
1989:
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1966:
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1937:
1931:
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1798:
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1738:(2–3): 296–312.
1721:
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1379:
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1355:
1346:
1325:
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1317:
1289:
1283:
1277:
1271:
1269:
1244:
1233:
1232:
1209:(2nd ed.).
1195:
1155:Fugue in A Minor
1110:piano four hands
1076:Tobias Haslinger
1061:
967:Anderson (2006a)
954:Ferruccio Busoni
942:Augener & Co
696:Raymond Smullyan
692:
691:
672:
662:Musée Carnavalet
646:piano four-hands
632:, the family of
564:
563:
562:
561:
546:
545:
544:
543:
531:The fugue is in
486:circle of fifths
435:L'estro armonico
396:Silbermann organ
388:
387:
368:
312:
274:Silbermann organ
266:
265:
255:Prelude, BWV 543
246:
224:, editor of the
59:
56:
50:
24:
16:
3146:
3145:
3141:
3140:
3139:
3137:
3136:
3135:
3106:
3105:
3104:
3100:Classical music
3094:
3092:
3084:
3082:
3077:
3054:
3045:
3038:
3031:
3024:
3015:
3014:
3008:
3001:
2995:
2988:
2981:
2972:
2971:
2968:
2961:
2931:
2910:Gould recording
2837:
2836:
2824:
2823:
2811:
2810:
2777:
2776:
2764:
2763:
2732:
2731:
2719:
2718:
2692:
2691:
2679:
2678:
2666:
2665:
2575:
2392:
2387:
2376:
2312:
2311:
2293:
2248:
2245:
2231:
2229:Michaeliskirche
2204:
2202:
2193:
2188:
2178:
2176:
2175:. 2 August 2019
2165:
2164:
2160:
2153:
2133:
2129:
2121:
2117:
2092:
2088:
2077:Senff, Bartholf
2069:
2065:
2048:
2044:
2034:
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2023:
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2018:
2008:
2006:
1997:
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1693:
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1660:
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1636:
1628:
1619:
1579:
1575:
1568:
1560:. p. 108.
1550:
1546:
1538:
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1515:
1510:
1506:
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1491:
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1464:
1457:
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1406:
1386:
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1358:
1326:
1322:
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1286:
1278:
1274:
1266:
1245:
1236:
1229:
1199:Williams, Peter
1196:
1167:
1163:
1131:Ennio Morricone
1127:
1068:
1055:
1053:Michaeliskirche
958:Philipp Wolfrum
906:
713:
712:
704:
702:
701:
700:
699:
693:
686:
683:
676:
670:
654:
626:
606:Johannes Brahms
598:Robert Schumann
590:
560:
555:
554:
553:
552:
551:
542:
537:
536:
535:
534:
533:
430:Antonio Vivaldi
407:
406:
405:
404:
403:
389:
382:
379:
372:
366:
361:
297:Williams (2003)
285:
284:
283:
282:
281:
267:
260:
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250:
244:
239:
234:
206:
193:Williams (2003)
173:
165:Yale University
134:recovered from
112:
67:
60:
54:
51:
41:
29:This article's
25:
12:
11:
5:
3144:
3134:
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3079:
3078:
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3065:
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3052:
3043:
3036:
3029:
3022:
3005:
3003:
2997:
2996:
2994:
2993:
2986:
2979:
2976:major, BWV 998
2966:
2959:
2958:
2957:
2945:
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2930:
2929:
2922:
2915:
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2360:
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2346:
2345:
2335:
2325:
2291:
2282:
2264:
2244:
2243:External links
2241:
2240:
2239:
2217:Peters edition
2192:
2189:
2187:
2186:
2172:France Musique
2158:
2151:
2127:
2115:
2086:
2063:
2042:
2016:
1990:
1972:, ed. (1832).
1970:Sechter, Simon
1961:
1941:Sechter, Simon
1932:
1929:Billmeyer 2018
1921:
1918:. p. 134.
1902:
1874:
1855:
1848:
1826:
1799:
1792:
1765:
1716:
1709:
1687:
1676:(4): 749–770.
1658:
1646:
1617:
1573:
1566:
1544:
1523:
1512:Transcriptions
1504:
1489:
1482:
1455:
1442:10.2307/957607
1418:
1404:
1396:Backbeat Books
1380:
1356:
1320:
1284:
1272:
1264:
1234:
1227:
1164:
1162:
1159:
1126:
1123:
1122:
1121:
1098:
1091:
1067:
1064:
944:in London and
928:In 1895–1896,
905:
902:
873:Stinson (2006)
834:Stinson (2006)
821:Heinrich Heine
819:was coined by
786:Adolphe Pictet
774:Marie d'Agoult
762:Joseph Joachim
758:Clara Schumann
703:
694:
684:
679:
678:
677:
668:
667:
666:
653:
650:
625:
622:
610:Clara Schumann
589:
586:
578:harmonic minor
556:
538:
529:
528:
521:
510:
489:
478:
459:
452:countersubject
390:
380:
377:Fugue, BWV 543
375:
374:
373:
364:
363:
362:
360:
357:
314:
313:
289:Philipp Spitta
268:
258:
253:
252:
251:
242:
241:
240:
238:
235:
233:
230:
210:Peter Williams
205:
202:
197:Beechey (1973)
172:
169:
111:
108:
65:
62:
61:
38:the key points
28:
26:
19:
9:
6:
4:
3:
2:
3143:
3132:
3129:
3127:
3124:
3122:
3119:
3117:
3114:
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3111:
3101:
3091:
3090:
3087:
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3057:
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3012:
3007:
3006:
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2991:
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2707:
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2548:
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2535:
2533:
2531:
2527:
2525:
2523:
2522:OrgelbĂĽchlein
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2502:
2499:
2497:
2494:
2488:
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2344:'s recording)
2343:
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2329:
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2316:
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2256:
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2222:
2221:Orgelwerke II
2218:
2214:
2200:
2195:
2194:
2174:
2173:
2168:
2162:
2154:
2152:9780190681012
2148:
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2059:
2055:
2054:
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2030:
2026:
2020:
2004:
2000:
1994:
1979:
1975:
1971:
1965:
1950:
1946:
1942:
1936:
1930:
1925:
1917:
1913:
1906:
1891:
1890:
1885:
1878:
1870:
1866:
1859:
1851:
1849:9781136497896
1845:
1841:
1837:
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1818:
1814:
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1795:
1793:9780754630753
1789:
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1710:9780203958858
1706:
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1567:9781136497896
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1483:0-19-517109-8
1479:
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1405:9780879308650
1401:
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1265:9780198164401
1261:
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1115:
1111:
1107:
1103:
1099:
1096:
1092:
1089:
1085:
1081:
1077:
1073:
1072:Simon Sechter
1070:
1069:
1063:
1059:
1054:
1050:
1046:
1042:
1038:
1034:
1033:Orgelbewegung
1030:
1026:
1025:Wilhelm Sauer
1022:
1021:Lower Bavaria
1018:
1014:
1010:
1006:
1002:
997:
995:
991:
987:
982:
978:
974:
973:
968:
963:
959:
955:
951:
947:
943:
939:
935:
931:
924:
920:
914:
910:
901:
899:
898:Carl Lachmund
895:
892:and his wife
891:
886:
882:
878:
874:
870:
866:
862:
858:
854:
847:
842:
838:
835:
831:
827:
822:
818:
809:
805:
803:
799:
795:
791:
787:
783:
779:
775:
771:
765:
763:
759:
755:
751:
747:
743:
742:
736:
734:
730:
726:
722:
719:nature, many
718:
711:
709:
697:
682:
663:
658:
649:
647:
643:
639:
635:
631:
621:
619:
615:
611:
607:
603:
599:
595:
585:
583:
582:picardy third
579:
575:
570:
566:
559:
548:
541:
525:
524:Bars 135–151.
522:
518:
514:
511:
508:
505:
501:
497:
493:
490:
487:
482:
479:
476:
472:
468:
463:
460:
457:
453:
449:
445:
442:
441:
440:
438:
436:
431:
427:
423:
416:
411:
401:
397:
393:
392:Robert Köbler
378:
356:
354:
350:
349:
344:
340:
339:OrgelbĂĽchlein
336:
332:
328:
324:
320:
311:
307:
306:
305:
303:
298:
294:
290:
279:
275:
271:
270:Robert Köbler
256:
229:
227:
223:
219:
214:
211:
201:
198:
194:
186:
182:
177:
168:
166:
162:
158:
154:
150:
147:, now in the
146:
142:
137:
133:
129:
125:
121:
117:
107:
106:(1708–1713).
105:
101:
97:
93:
89:
82:
78:
73:
69:
58:
55:December 2022
49:
45:
39:
37:
32:
27:
23:
18:
17:
3046:
3010:
2924:
2917:
2894:
2882:
2875:
2857:
2638:
2629:
2568:
2559:
2546:
2537:
2529:
2521:
2447:
2342:James Kibbie
2295:Hawley, Mike
2278:Bach Archive
2273:Bach Digital
2271:
2254:
2220:
2213:Karl Straube
2203:. Retrieved
2177:. Retrieved
2170:
2161:
2137:
2130:
2125:, p. 27
2123:Stinson 2006
2118:
2096:
2089:
2080:
2066:
2052:
2045:
2033:. Retrieved
2029:Bach Archive
2019:
2007:. Retrieved
1993:
1981:. Retrieved
1964:
1952:. Retrieved
1949:Bach Archive
1935:
1924:
1911:
1905:
1893:. Retrieved
1889:The Diapason
1887:
1877:
1868:
1864:
1858:
1835:
1829:
1808:
1802:
1779:
1735:
1729:
1719:
1696:
1690:
1673:
1667:
1661:
1654:Stinson 2006
1649:
1632:
1602:– via
1576:
1553:
1547:
1540:Stinson 2006
1517:pianosociety
1507:
1492:
1468:
1433:
1427:
1421:
1409:. Retrieved
1390:
1383:
1375:Bach Archive
1370:Bach Digital
1368:
1359:
1348:Introduction
1333:
1323:
1301:
1297:
1287:
1275:
1251:
1206:
1154:
1148:
1142:
1138:
1128:
1114:C. F. Peters
1079:
1029:C. F. Peters
1017:Thomaskantor
1013:Thomaskirche
1005:Karl Straube
998:
993:
989:
985:
980:
976:
970:
937:
927:
923:Karl Straube
869:Joachim Raff
850:
814:
798:Singakademie
789:
766:
750:Frauenkirche
745:
739:
737:
714:
705:
630:C. F. Peters
627:
591:
557:
539:
530:
523:
513:Bars 95–135.
512:
503:
499:
495:
491:
480:
461:
443:
433:
419:
415:J.P. Kellner
346:
322:
315:
286:
215:
207:
189:
113:
87:
86:
68:
52:
47:
33:
31:lead section
3002:collections
2903:discography
2835:No. 22 in B
2822:No. 18 in G
2809:No. 13 in F
2730:No. 22 in B
2717:No. 21 in B
2276:. Leipzig:
2232: [
2225:Sauer organ
1373:. Leipzig:
1062:, Leipzig.
1056: [
1049:Sauer organ
946:G. Schirmer
826:Montpellier
817:Lisztomania
782:George Sand
602:Franz Liszt
569:arpeggiated
492:Bars 61–95.
481:Bars 51–61.
462:Bars 31–50.
218:harpsichord
181:J.C. Kittel
104:Saxe-Weimar
98:written by
96:organ music
83:, 1711–1714
3110:Categories
2775:No. 4 in C
2762:No. 3 in C
2690:No. 7 in E
2677:No. 4 in C
2664:No. 3 in C
2571:, BWV 1128
2491:(doubtful)
2472:(doubtful)
2408:(doubtful)
2238:, Leipzig.
2205:21 October
2179:16 October
2110:B000WMAZIS
2035:23 October
2009:23 October
2001:. Berlin:
1983:19 October
1976:. Vienna:
1954:19 October
1914:(Thesis).
1895:22 October
1821:2262/76422
1811:(Thesis).
1639:(Thesis).
1582:Reger, Max
1352:Commentary
1282:Commentary
1106:piano duet
934:piano duet
725:instrument
708:media help
507:organ stop
496:en taille,
448:head-motif
444:Bars 1–30.
2549:, BWV 768
2332:Muziekweb
1978:Haslinger
1840:Routledge
1784:Routledge
1760:190709449
1701:Routledge
1599:1802/4631
1558:Routledge
1308:: 75–86.
1280:Bach 2014
972:Die Musik
950:Wiesbaden
930:Max Reger
913:Max Reger
904:Max Reger
865:Haslinger
721:organists
717:rhapsodic
302:chromatic
293:Buxtehude
287:Although
36:summarize
3016:♭
2973:♭
2838:♭
2825:♯
2812:♯
2778:♯
2765:♯
2733:♭
2720:♭
2693:♭
2680:♯
2667:♯
2580:Keyboard
2315:cite web
2307:Archived
2252:(1825).
2215:'s 1913
1943:(1832).
1584:(1890).
1314:43489873
1250:(2007).
1201:(2003).
1120:in 1962.
504:cromorne
475:3/4 time
471:6/8 time
402:, Saxony
319:sequence
280:, Saxony
2954:Bourrée
2743:Book 2
2645:Book 1
2338:BWV 543
2297:(ed.).
2191:Sources
2079:(ed.).
1590:Augener
1411:15 June
1051:in the
1009:Leipzig
994:scandal
885:BWV 544
861:Ukraine
802:Potsdam
796:at the
794:BWV 548
754:Dresden
698:, piano
638:Rebecka
618:Rebecka
574:toccata
517:stretto
467:hemiola
456:codetta
422:BWV 593
343:Toccata
335:BWV 643
329:or the
327:BWV 599
237:Prelude
171:Prelude
153:Leipzig
3086:Portal
2489:
2470:
2406:
2149:
2108:
2031:. 1832
2005:. 1832
1846:
1790:
1758:
1750:
1707:
1564:
1480:
1450:957607
1448:
1402:
1312:
1262:
1225:
1135:scored
881:Weimar
853:Weimar
846:Weimar
770:Geneva
733:S. 462
500:tierce
3000:Mixed
2841:minor
2828:minor
2815:major
2781:minor
2768:major
2736:minor
2723:major
2696:major
2683:minor
2670:major
2622:No. 6
2615:No. 4
2608:No. 2
2397:Organ
2380:organ
2236:]
2075:. In
1756:S2CID
1748:JSTOR
1637:(PDF)
1446:JSTOR
1310:JSTOR
1304:(1).
1161:Notes
1060:]
1041:RĂłwno
772:with
729:Liszt
634:Fanny
614:Fanny
428:from
426:organ
359:Fugue
353:fugue
323:brisé
204:Fugue
2936:Lute
2321:link
2260:Wien
2207:2020
2181:2020
2147:ISBN
2106:ASIN
2037:2013
2011:2020
1985:2020
1956:2020
1897:2020
1871:(4).
1844:ISBN
1788:ISBN
1705:ISBN
1562:ISBN
1519:.com
1478:ISBN
1413:2020
1400:ISBN
1343:ISMN
1298:Bach
1260:ISBN
1223:ISBN
1108:(or
784:and
760:and
640:and
616:and
604:and
565:time
547:time
136:Kyiv
118:and
2386:by
2330:at
2303:MIT
2227:in
2219:of
1817:hdl
1740:doi
1678:doi
1594:hdl
1514:at
1438:doi
1434:114
1215:doi
981:all
879:in
790:WTC
746:WTC
502:or
92:BWV
3112::
2382:,
2317:}}
2313:{{
2305:.
2301:.
2270:.
2258:.
2234:de
2169:.
2104:.
2100:.
2056:.
2027:.
1947:.
1886:.
1869:14
1867:.
1838:.
1815:.
1786:.
1782:.
1768:^
1754:.
1746:.
1736:25
1734:.
1728:.
1703:.
1699:.
1674:87
1672:.
1620:^
1610:,
1592:.
1588:.
1556:.
1526:^
1476:.
1472:.
1458:^
1444:.
1432:.
1398:.
1394:.
1367:.
1341:.
1302:44
1300:.
1296:.
1254:.
1237:^
1221:.
1205:.
1168:^
1058:de
990:so
804:.
752:,
727:.
648:.
636:,
600:,
596:,
584:.
394:,
295:,
272:,
167:.
90:,
79:,
3088::
2371:e
2364:t
2357:v
2323:)
2209:.
2183:.
2155:.
2112:.
2039:.
2013:.
1987:.
1958:.
1899:.
1852:.
1823:.
1819::
1796:.
1762:.
1742::
1713:.
1684:.
1680::
1643:.
1614:.
1606:–
1596::
1570:.
1486:.
1452:.
1440::
1415:.
1316:.
1268:.
1231:.
1217::
1097:.
1090:.
744:(
710:.
558:4
540:8
484:"
437:.
57:)
53:(
40:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
