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Bach, Johann Sebastian : Fantasie c-moll BWV 919

Work Overview

Music ID : 2243
Publication Year:1843
First Publisher:Peters
Instrumentation:Piano Solo 
Genre:fantasy
Total Playing Time:1 min 15 sec
Copyright:Public Domain

Commentary (2)

Author : Asayama, Natsuko

Last Updated: September 1, 2007
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

It is transmitted in Preller's manuscript. (Johann Gottlieb Preller (1727-1786) was a musician of the generation of Bach's pupils. The music books for organ and clavier compiled by him and his fellow pupil Johann Nikolaus Mempel are important sources for reconstructing Bach's compositions.) Preller attributes the composition to "Bernhard Bach." Possible composers corresponding to this name include Johann Bernhard (1676-1749), J.S. Bach's second cousin who was active in Eisenach, or J.S. Bach's short-lived son, Johann Gottfried Bernhard (1715-1739). While the theory attributing it to Johann Bernhard of Eisenach is common, given the music's strong resemblance to J.S. Bach's style, the possibility that it is a work by Bach's son, or even Bach's own work misattributed, cannot be ruled out.

The work is a concise piece of only 25 measures, written for two voices. It features a well-balanced theme that appropriately incorporates stepwise motion and leaps, ascending and descending lines, and repeated notes. J.S. Bach was a genius at conceiving such themes rich in potential. Furthermore, the method of contrapuntally combining the first and second halves of the theme is truly fitting to be called an "Invention." Regardless of the composer's identity, it is a concise, tightly structured, and intellectually profound work.

Author : Ooi, Kazurou

Last Updated: September 14, 2023
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The key of C minor in Bach's oeuvre is not exclusively somber, as it encompasses pieces of a joyful character. Indeed, it would not be inaccurate to perceive it as rather optimistic. This Fantasia is no exception, and can be interpreted as a work reflecting a rather sanguine disposition of Bach.

Consequently, an excessively slow tempo would fundamentally alter the inherent character of this composition. An Allegro tempo is deemed most appropriate.

Therefore, it is recommended that the eighth notes be articulated with staccato. In this context, a light and brief staccato would be more congruent with the piece's character than a heavy or sustained one.

The principal theme is introduced by the right hand in measure 1. Upon its recurrence, this theme should be rendered with distinct clarity. The theme undergoes modulations, appearing in keys such as G minor and E-flat major. Sections beyond the thematic statements predominantly consist of sequences; thus, it is imperative to avoid a monotonous dynamic rendering of these sequences. Instead, both descending and ascending sequential passages should be imbued with directional impetus, and the dynamics of each sequential unit should be varied accordingly.

Regarding the balance between the two voices, audibility is enhanced when one voice consistently maintains a dynamic level either greater or lesser than the other. While a general guideline suggests emphasizing notes of longer duration for clarity, numerous exceptions exist, and the ultimate decision rests with the performer's discretion.

A particularly challenging line occurs in measure 18, presenting technical difficulty due to the crossing of hands. Nevertheless, this passage requires the eighth notes to be articulated with utmost clarity.

Writer: Ooi, Kazurou
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