The Chromatic Fantasia and Fugue in D minor (BWV 903) is a work for harpsichord by Johann Sebastian Bach. Bach probably composed it during his time in Köthen from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano.

Sources

An autograph of this work is not known. The musicologist Walther Siegmund-Schultze pinpoints the work to the "fermenting Köthen works" because of its improvisatory and expressive nature, using all keys.

At least 16 different handwritten copies of the score are extant, including five from Bach's lifetime. The oldest copy is only an early, two-bar shorter variant of the fantasia. It was written by Bach's pupil Johann Tobias Krebs and was created after 1717, close to the time of origin. Two other copies emerged around 1730 that include the fugue; they were possibly written by Gottfried Grünewald (de) or Christoph Graupner. A copy of the double work comes from Johann Friedrich Agricola and was written between 1738 and 1740. A manuscript from 1750 is extant , and a complete copy by Johann Nikolaus Forkel (1800). From these two manuscripts come the first printed editions of the piece by Franz Anton Hoffmeister (1802) and Friedrich Konrad Griepenkerl (de) (1819). Because of significant differences in details, which can not be traced back to a common basic shape, it is assumed that Bach himself composed the various different versions of the work that are in circulation.

Structure

The chromatic fantasia begins as a toccata with fast, up and down surging runs in thirty-second notes and broken chords in sixteenth-note triplets, which are often diminished seventh chords lined up in semitones. The second part is a series of very clear and remotely modulating soft leading chords that are written in the oldest copies as "Arpeggio", i.e. they require a spread chord. The third part is titled Recitative and includes a variety of ornamented, enriched, highly expressive melodies. This part contains several enharmonic equivalents. The recitative finishes with passages that are chromatically sinking diminished seventh chords over above the pedal point on D. The theme of the fugue consists of an ascending half-step line from A to C, here from the third to the fifth of D minor to the parallel major key of F major. Because of these characteristics the piece became known as Chromatic, a term that did not originate with Bach.

Reception and interpretation

The virtuosic and improvisational toccata style of the fantasy, in which both hands alternate rapidly, the key of D minor and the expressive, tonally experimental character put the work alongside the famous Toccata and Fugue in D minor, BWV 565. Both works are exceptional and therefore particularly popular compositions in Bach's keyboard music. This assessment was shared by Bach contemporaries. His son Wilhelm Friedemann Bach, who was himself an excellent improviser, said the work "remains beautiful in all saecula". The first biographer of Bach, Johann Nikolaus Forkel, wrote: "I have given much effort to find another piece of this type by Bach. But it was in vain. This fantasy is unique and has never been second to none."

The work was a prime example of romantic Bach interpretation in the 19th century. Felix Mendelssohn, the founder of the Bach revival, played this fantasy in February 1840 and 1841 in a series of concerts at the Leipzig Gewandhaus and thus delighted the audience. He attributed this effect to its free interpretation of the arpeggios of the fantasy. He used the sound effects of the former grand piano through a differentiated dynamics, highlighting high notes, the excessive use of sound and doubled pedal bass notes. This interpretation became the model for the second movement (Adagio) of Mendelssohn's second sonata for cello and Piano (Op. 58, which was written from 1841 to 1843): This work gives the top notes of the notated piano argeggios a chorale melody while the cello plays an extended recitative resembling the recitative of Bach's Chromatic Fantasia and quotes its final passage.

This romantic interpretation had a formative impact, since many famous pianists and composers, including Franz Liszt and Johannes Brahms, used the work as a demonstration of virtuosity and expressiveness in their concert repertoire. It was reprinted in many editions with interpretive additions and scale instructions. The romantic Bach interpreter Ferruccio Busoni talked about the differences between his collected works and the final passage as Coda in the recitative. Max Reger reworked this work for the romantic organ. Even after the rise of the historically informed performance movement, it remains one of the most popular concert pieces and most embodied recordings of the works by Bach.

There are romantic interpretations by Edwin Fischer, Wilhelm Kempff and Samuil Feinberg, sometimes even Alfred Brendel on the grand piano and Wanda Landowska on the harpsichord. A deromanticised brilliant-sounding interpretation with idiosyncratic surprising accents without the use of the piano pedal was presented by Glenn Gould, influencing many more recent pianists such as Andras Schiff and Alexis Weissenberg. The pianist Agi Jambor combined romantic sonorities and colors with clear voice guidance and emphasized the work's structural relations. In 1940 Kaikhosru Shapurji Sorabji composed a virtuosic paraphrase of the Fantasie as the 99th of his Études transcendantes.

Transcriptions

The work has been transcribed for classical guitar by Philip Hii, and for both solo piano and cello and piano by Busoni as BV B 31 and 38, respectively. Jaco Pastorius played the opening parts on electric bass on his 1981 album Word of Mouth,and a transcription for solo cello was made by cellist Johann Sebastian Paetsch in 2015 and published by the Hofmeister Musikverlag in Leipzig.

Literature

Urtext edition

• Rudolf Steglich (ed.): Johann Sebastian Bach: Chromatische Fantasie und Fuge d-moll BWV 903: Urtext without fingerings. G. Henle, 2009, ISBN 979-0201811635
• Ulrich Leisinger (ed.): Johann Sebastian Bach: Chromatische Fantasie + Fuge (Bwv 903/903a). Klavier, Cembalo. Wiener Urtext Edition, Schott Verlag, ISBN 979-0500571919
• Heinrich Schenker: J.S. Bach's Chromatic Fantasy and Fugue: Critical Edition With Commentary. Longman Music Series, Schirmer Books 1984, ISBN 0028732405

Musical analysis

• Martin Geck (ed.): Bach-Interpretationen. Vandenhoeck und Ruprecht, 2nd edition, Göttingen 1982, ISBN 3525332769, p. 57–73 and 213–215
• Stefan Drees: Vom Sprechen der Instrumente: Zur Geschichte des instrumentalen Rezitativs. Peter Lang, Frankfurt am Main 2007, ISBN 3631564783, p. 75–78

Media

References

1. ^ Cristoph Rueger (ed.): Johann Sebastian Bach. In: Harenberg Klaviermusikführer. Harenberg, Dortmund 1984, ISBN 3-611-00679-3, p. 85.
2. ^ Tamás Zászkaliczky (ed.): Anmerkungen des Herausgebers. In: Fantasien & Toccaten: für Klavier, for piano / Johann Sebastian Bach. Könemann Music, Budapest 2000, p. 86f.
3. ^ Hermann Keller: Studien zur Harmonik Joh. Seb. Bachs. In: Bach-Jahrbuch. Jg. 41 (1954), p. 50–65 (online), (PDF-Datei; 832 kB) S. 61.
4. ^ Cristoph Rueger (ed.): Johann Sebastian Bach. In: Harenberg Klaviermusikführer. Harenberg, Dortmund 1984, ISBN 3-611-00679-3, p. 86.
5. ^ Wolfgang Dinglinger: "Die Arpeggien sind ja eben der Haupteffect." Anmerkungen zum Adagio der zweiten Cellosonate op. 58 von Felix Mendelssohn Bartholdy. In: Cordula Heymann-Wentzel, Johannes Laas: Musik und Biographie: Festschrift für Rainer Cadenbach. Königshausen & Neumann, 2004, ISBN 382602804X, pp. 65–68
6. ^ Chromatische Fantasie by Kaukhosru Sorabji on The Sorabji Archive
7. ^ "Bach: New Transcriptions for Guitar". Audio. 1996. Retrieved 7 June 2015. 
8. ^ Leipzig: Friedrich Hofmeister Verlag, FH 3021, 3 Pieces from BWV 565, 903, 1004, Leipzig 2015, (Editor/Arranger – Johann Sebastian Paetsch), ISMN: 9790203430216