Bach, Johann Sebastian : Fantasie "duobus subiectis" g-moll BWV 917
Work Overview
Publication Year：1866
First Publisher：Peters
Instrumentation：Piano Solo
Genre：fantasy
Total Playing Time：2 min 00 sec
Copyright：Public Domain
Commentary (2)
Author : Asayama, Natsuko
Last Updated: September 1, 2007
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Author : Asayama, Natsuko
The title "Fantasie 'duobus subiectis'" (Fantasy on Two Subjects) is found in a manuscript by Johann Christoph Bach. Here, "Fantasie" refers to a contrapuntal work. Although titled "on two subjects," there are actually three: a descending fourth including chromaticism (in the alto at the beginning), a melody with leaps and suspensions (in the bass at the beginning), and a counter-subject consisting of a series of eighth notes with turns (in the soprano at the beginning). The "second" subject indicated by the Latin title might refer to this counter-subject. In any case, this method of combining subjects with distinct characteristics is a hallmark of Bach's contrapuntal compositions.
While maintaining strict four-part writing throughout, the texture is clear and does not lose its elegance. Given its brevity and Latin title, it might be considered a contrapuntal study or pedagogical piece, but one should not judge this work solely by its scale or format. It is a fine work, utilizing only carefully selected and maximally refined notes.
Author : Ooi, Kazurou
Last Updated: September 20, 2023
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Author : Ooi, Kazurou
The opening and the final two measures are cadenzas, so please play them freely and improvisationally. Now, regarding the middle section: this piece does not have a prominent peak point towards which it progresses or from which it declines, nor does it contain many dramatic elements, making it prone to sounding flat. The section around measures 55-56 might be considered a peak point.
Performance Tips
- Following the first theme (subject) in the left hand from measure 3, it appears in G minor at measure 3, again in G minor at measure 19, and in C minor at measure 26. Then, the second theme enters at measure 38 in D minor. The first theme returns at measure 45 in B-flat major, and the piece reaches a cadenza at measure 56 in G minor.
- While this is just one way of dividing the piece, performers should divide this piece into several sections at natural breaking points. And try varying the volume, tone quality, and character according to each key. For example, even with the same G minor theme, measure 3 functions as a tonic, while measure 19 has a dominant function, so you might try increasing the tension for the dominant section. Alternatively, since the B-flat major theme appears at measure 45, you could try changing the color with a softer tone quality there.
- Furthermore, be careful not to have flat dynamics in ascending or descending sequences, regardless of their location. For instance, if a B-flat major section with a soft tone quality awaits at measure 45, a descending sequence starting from measure 40 leading up to it could smoothly transition by applying a diminuendo until measure 45.