Johann Sebastian Bach may or may not have written his organ masterpiece, Toccata and Fugue in D Minor in 1704. All we know for sure is that the combined efforts of Johannes Ringk, who saved it in manuscript form in the 1830’s, and Felix Mendelssohn who performed it and made it a hit you could dance to during the Bach Revival in 1840 made it possible to still hear its sublime music today. Okay, maybe not dance to exactly… But without the two of them, the piece might have been lost to us in obscurity.
The Toccata part is a composition that uses fast fingerings and a sprightly beat to make happy hippie type music that is really quite trippy. The Fugue part (pronounced Fyoog, not Fuggwee which I learned to my horror in grade school music class) is a part where one part of the tune echoes another part of the tune and one part becomes the other part and then reflects it all back again. I know that’s needlessly confusing, but at least I know what I mean. That is not always a given when I am writing quickly like a Toccata.
I have posted two different versions for you to listen to in this musical metaphor nonsensical posticle… err… Popsicle… err… maybe just post. One is the kinda creepy organ version like you might find in a Hammer Films monster movie in the 1970’s. The other is the light and fluffy violin version from Disney’s Fantasia. I don’t really expect you to listen to both, but listening to one or the other would at least give you a tonal hint about what the ever-loving foolishness I am writing in this post is really all about.
You see, I find sober thoughts in this 313-year-old piece of music that I apply to the arc of my life to give it meaning in musical measure.

This is the Paffooney of this piece, a picture of my wife in her cartoon panda incarnation, along with the panda persona of my number two son. The background of this Paffooney is the actual Ringk manuscript that allowed Bach’s masterwork not to be lost for all time.
My life was always a musical composition, though I never really learned piano other than to pick out favorite tunes by ear. But the Bach Toccata and Fugue begins thusly;
The Toccata begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the octave. It then spirals toward the bottom, where a diminished seventh chord appears (which actually implies a dominant chord with a minor 9th against a tonic pedal), built one note at a time. This resolves into a D major chord.
I interpret that in prose thusly;
Life was bright and full of promise when I was a child… men going to the moon, me learning to draw and paint, and being smarter than the average child to the point of being hated for my smart-asserry and tortured accordingly. I was sexually assaulted by an older boy and spiraled towards the bottom where I was diminished for a time and mired in a seventh chord of depression and despair. But that resolved into a D major chord when the realization dawned that I could teach and help others to learn the music of life.
And then the Fugue begins in earnest. I set the melody and led my students to repeat and reflect it back again. Over and over, rising like a storm and skipping like a happy child through the tulips that blossom as the showers pass. Winding and unwinding in equal measure, my life progressed to a creaky old age. But the notes of regret in the conclusion are few. The reflections of happinesses gained are legion. I have lived a life I do not regret. I may not have my music saved in the same way Johann Sebastian did, but I am proud of the whole of it. And whether by organ or by violin, it will translate to the next life, and will continue to repeat. What more can a doofus who thinks teaching and drawing and telling stories are a form of music ask for from life?









Albinoni’s Adagio in G Minor
You should listen to the music. Not only is it beautiful, it is the perfect description of the now. Yes, I am a touch depressed, and the music is deep blue. But there are such strains of the bittersweet and angelic light, that Albinoni must be speaking directly from his heart into mine. This music paints my soul.
The sky reflects my mood with lurking dark blues and obscuring clouds incapable of completely taking away the sun. I finally had enough money to visit the doctor today. I had an infection in throat and sinus. I got medicine to heal the sores, and the medicine will prevent pneumonia, and probably saved my life.
My family was whole and together for the holidays, though three of us were sick for a good share of it and unable to spend the time together as we would’ve liked. Still, even though we had to take number one son to DFW Airport in the rain and send him back to Marine world, we got to see him and share good times with him, no matter how short. Deep blue with angelic violins of musical light. He made it back safely. I have more days and probably more months to live and write. And the music of existence continues to quietly play.
I continue to collect photos of new dawns. Here is December 27th.
It is possible that Tomaso Albinoni did not write the Adagio in G Minor. It is believed that it was cobbled together as a sort of hoax by his chief transcriber, Remo Giazotto. He apparently took old Dresden manuscripts and made this beautiful piece as a reflection of the work of Albinoni. Albinoni,a prolific composer of the 1700’s, beloved by Johan Sebastian Bach, wrote opera scores that never quite got published, and so,even though he is a composer of many musical works, most of them are lost to history. Yet, how can such a thing be considered a fake? The music touches my soul. From Albinoni’s soul, through Giazotto’s, to mine, and, hopefully, thence to yours. Listen to it. Really listen. You can’t help but understand what I mean. Even if you can’t stand classical music. Though, if you truly can’t stand classical music… I weep for thee.
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