Analysis and Performance Notes

It has been noted, in some interpretations, that this Capriccio conveys Bach's cheerful disposition. Indeed, many of Bach's compositions in minor keys nonetheless possess a joyful character. For instance, the Prelude in C minor from Book II of the Well-Tempered Clavier, also in C minor, is remarkably imbued with delight.

When performing this Capriccio, it is crucial to identify all occurrences of the theme. This is of paramount importance. The challenge lies in precisely delineating the theme's boundaries, as its presentation is remarkably ambiguous, and a complete analysis remains elusive. Furthermore, fragments of the theme are interspersed throughout the entire piece, compounding the difficulty of identification.

Consequently, the analytical approach adopted here involves identifying all theme-like elements, regardless of whether they constitute complete themes or mere fragments.

In measure 1, right hand (soprano), one might consider the theme extending up to the first note, E-flat, in measure 4; however, given subsequent developments, a definitive statement regarding its precise extent is withheld at this juncture.

• Measure 5, left hand (alto)
• Measure 8, left hand (bass)
• Measure 19, left hand (bass)
• Measure 28, right hand (soprano)
• Measure 35, right hand (alto)
• Measure 37, right hand (soprano)
• Measure 40, left hand (alto)
• Measure 42, left hand (alto)
• Measure 45, left hand (bass) (subtle whether to consider it a theme fragment)
• Measure 49, right hand (soprano)
• Measure 52, left hand (alto)
• Measure 60, left hand (bass)
• Measure 70, right hand (alto)
• Measure 77, right hand (alto)
• Measure 79, right hand (soprano)
• Measure 87, left hand (bass)
• Measure 89, right hand (soprano)
• Measure 91, right hand (alto)
• Measure 93, right hand (soprano) (subtle whether to consider it a theme)

Initially, it is advisable to prioritize the audibility of this theme in performance. Subsequently, endeavor to maximize the independence of the individual voices.