I can't go past the almost bone-crushingly elaborate fugue that Bach paired with his Dorian Toccata. The more often I play it, the more incidental beauties it reveals.
So many of the Bach organ fugues are just wonderful. Every time I learn a new one, I think it the best. Right now its the A minor BWV 543. But I also love the WTC fugues also.
Sorry, Francis, I forgot to put in the BWV number previously. It's 538. Here's a recording of both the Toccata and the Fugue (the Fugue seems substantially rarer on YouTube than the Toccata is) played by one of Australia's leading organists, Rhys Boak. Note that the Fugue doesn't begin till around the 6:45 point:
As for Vivaldi's fugues, don't forget the "Cum sancto spiritu" finale from the famous Vivaldi Gloria. (He based this fugue on a specimen by one G. M. Ruggieri, but unless I've totally mis-remembered H.C. Robbins Landon's Vivaldi biography, the best bits of the piece - including the trumpet entry - are Vivaldi's own.)
Bruckner's Te Deum ends with a nice double fugue, as does his fifth symphony. Pachelbel and Buxtehude were also masterful with fugue-writing. Alan Hovhaness wrote a vast number of amazing fugues.
Here's one Tough Mudder of a fugue: Max Reger's in D, Opus 59 No. 6. I have slaved over this in practice sessions for years, and even now I keep being reminded of Heifetz's alleged remark to Schoenberg. (Heifetz: "The only way I can play your Violin Concerto is for my left hand to grow a sixth finger." Schoenberg: "I can wait.")
Likewise, the greatest aid to mastering this Reger fugue's pedal contortions would be the acquisition of five more toes. But this young-looking gentleman - even without that acquisition - seems to have the chops needed, only two small finger-slips detracting from the overall excellence:
I was just listening to the Bruckner 5th with it's masterful double fugue in the development, and then at the coda the main theme of the first movement joins the double fugue material. It's a contrapuntal masterpiece.
Whether best or rarest is up to individual opinion but I like some of the French fugues, such as by Couperin. They are sized just right for use at Sunday masses.
The fugue in the 6th movement of Brahms' German Requiem is an example of glorious, affirmative writing to fit the text:
Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen. (Offenbarung 4:11)
Thou art worthy, o Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created. (Revelation 4:11)
The fugue begins at 7:07 in this von Karajan recording by the Berlin Philharmonic and Wiener Singverein:
Continuing, with great choral fugue writing, one has to mention the "Cum Sancto Spiritu" (conclusion of the Gloria) in the Bach B minor Mass. Here is the full score for this movement.
The Credo of the B minor Mass also concludes with a fugue at "Et expecto". The "Osanna in excelsis" is largely fugal, too. And the "Dona nobis pacem" movement is an inspired fugal composition.
Amongst my favourites to play are Bach's b-minor (maybe the most elegant one), the great a-minor, and the e-minor (wedge), and the profoundly grand c-minor. Buxtehude's best contributions are the f#-minor and the E-Major. Titelouze's fugal writing in the final versets of his hymnes is nothing less than inspired; it is to be pitied that the works of this 'Father of the French organ school' did not have a more lasting influence on the developments of that school, which rather petered out in rococo drivel.
"Rococo drivel": yes, I recently had to review a CD (Olivier Latry) which, notwithstanding its merits, was disfigured by a great chunk of French Revolutionary tripe from one Claude Balbastre (based on the Marseillaise and Ça Ira). Said tripe - making the sleaziest Lefébure-Wély sound, by comparison, like The Art of Fugue - inspired in me the thought: "Well, that's 5:27 of my life I'll never get back again." (By now, masochists can probably track down the offending item via YouTube. I shan't bother.)
Perhaps Bach's great and glorious g-minor is the most exciting, AND the most exhausting to play. The e-minor 'Cathedral' must be the most droll!... with the c-minor 'Legrenzi' not far behind.
Bring fugues of the fairest, bring fugues of the rarest, from garden and woodland and hillside and vale; Our full hearts are swelling, our glad fugues are telling the praise of the loveliest fugue of the vale...
Not the best, for sure, but rarely heard are some of my fugues: Catch for Woodwind Quintet from Ellen's Alley and the 3rd part of Holy Day Overture (John 1:29). I'm working slowly on a set of 24 preludes and fugues for piano ... one of these days. My Moses at the Jordan River oratorio has several fugues.
Thank you for the info, Fr. Ron. What is very interesting is that there is a console sitting on the floor of the church for this performance. What is THAT?
francis, Kevin in Kentucky may possibly know if there are two consoles.
Check out some youtube postings of Jean Guillou playing at St. Eustache, e.g., his recording of Dieu parmi nous. They provide a better view of the positioning of the console. Folks are entering the church in plain sight of the organist (if he is able to see over the top of the console).
There are two consoles ( an increasingly common site in Paris). The organ is a Dutch builder whom I cannot recall. A console in the tribune and a console on the floor. Mssr. Guillou, the organist at St. Eustache, is quite the showman. Jean Baptiste Robin ( the player) in the video is a wonderful and kind man. He is a marvelous player but very humble.
The console is on a long cord. It is kept in a corner of the church when not used. Ste. Clotilde (Franck's church) has one also. I have also heard of discussion for St Etienne du Mont ( Durufle's church) also. It is very concert friendly.
I have always liked the Little Fugue in G Minor, although I think it is too difficult to be called, "Little." One of my music teachers sang the lyrics to it, "My green socks have holes in the toes." I have never been able to disassociate those words from the music since.
So many of the choral movements of Handel's "Messiah" ... to name a few: "For unto us a Child is born" "For the Lord God omnipotent reigneth" and, of course, the great "Amen" fugue that concludes the work.
@ CharlesW. There are many sets of words to the Bach fugue subjects, some of them quite profane (and funny.) My undergrad teacher taught many of them to us so as to help remember the subject.
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