/teuh kah"teuh/; It. /tawk kah"tah/, n. pl. toccatas, toccate /-tee/; It. /-te/. Music.
a composition in the style of an improvisation, for the piano, organ, or other keyboard instrument, intended to exhibit the player's technique.
[1715-25; < It: lit., touched, ptp. fem. of toccare to TOUCH]

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      musical form for keyboard instruments, written in a free style that is characterized by full chords, rapid runs, high harmonies, and other virtuoso elements designed to show off the performer's “touch.” The earliest use of the term (about 1536) was associated with solo lute music of an improvisatory character.

      In the late 16th century in Venice such composers as Giovanni Gabrieli and Claudio Merulo wrote organ toccatas (many with such titles as Fantasia and Intonazione), often achieving a majestic virtuosity by means of florid scale passages, embellishments, unsteady rhythms and harmonies, changes of mood, and freedom of tempo. Merulo initiated the later common practice of alternating fugal sections (fugue) (using melodic imitation) with rapid toccata passages. In Rome, Girolamo Frescobaldi (Frescobaldi, Girolamo) (d. 1643) composed toccatas that consisted of highly improvisatory sections loosely strung together, marked by sudden changes in harmonies and figuration. They were intended to be played with a free tempo and could be performed in their entirety or in one or more sections. Frescobaldi's German pupil Johann Jakob Froberger (Froberger, Johann Jakob) was an important transmitter of the style to Germany. Like his teacher, Froberger delighted in the use of chromatic harmonies (using notes foreign to the mode of the piece); and, like Merulo, he characteristically placed a contrasting fugal section between introductory and closing passages in toccata style.

      The juxtaposition of improvisatory and fugal passages—which appealed to the Baroque fascination with the union of opposites—became a prominent feature of the toccatas of the organist-composers of north Germany, culminating in the works of Dietrich Buxtehude (Buxtehude, Dietrich) and, later, J.S. Bach (Bach, Johann Sebastian). Buxtehude's toccatas, in contrast to, for example, those of Frescobaldi, are shaped by an underlying formal structure. Two, even three, fugal sections often alternate with toccata passages, and the fugue subjects are frequently variations of a basic motif. In the late Baroque era, as in a number of works of J.S. Bach, the association of the two opposite styles often took the form of an improvisatory first movement (termed prelude, toccata, fantasia, etc.) followed by a fugue, as in Bach's well-known Toccata and Fugue in D Minor, BWV 565, for organ. Toccatas were occasionally composed after the Baroque era, a notable example being the third section of Claude Debussy's suite Pour le piano (composed 1896–1901).

      The term also refers to a processional fanfare for trumpets and drums played at important state occasions from the late 14th through the late 18th century. The most famous example is the opening toccata from Claudio Monteverdi's opera Orfeo (1607).

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