BWV 564 During his early days as a professional organist, Bach tinkered and toyed with all shapes, sizes, and kinds of organ music, eventually perfecting the two-part toccata and fugue or prelude and fugue form. Only a single surviving work shows the composer's interest in a three-part example of that form: the Toccata, Adagio and Fugue in C major, which has been attributed to Bach's years in Weimar. It shares some similarities with other toccatas composed around the same time, all show the influence of concerto style and form.