This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
I asked ChatGPT about Bachʼs Fantasia and Fugue BWV 906. The main purpose is to clarify its relationship with other composers, particularly its connection to the empfindsamer Stil by composers like Emanuel Bach.
I asked ChatGPT4o: "What kind of musical works and composers influenced Bachʼs Fantasia BWV 906? Also, which composers did it influence?"
Bachʼs Fantasia BWV 906 (unfinished) belongs to his later works and demonstrates the maturity of his style. The following influences are noted for this piece.
Italian Music
German Polyphonic Music
Classical Composers
Romantic Composers
Bachʼs Fantasia BWV 906, with its free form and rich expressiveness, continued to influence many composers in later generations. This work played an important role as a bridge from the Baroque to the Classical and Romantic periods.
I asked ChatGPT4o: “Did it influence Emanuel Bach?”
Emanuel Bach (Carl Philipp Emanuel Bach) was greatly influenced by the music of his father, Johann Sebastian Bach. In particular, Emanuel Bach was influenced by his fatherʼs music and works like Fantasia BWV 906 in the following ways.
Improvisational Elements
Polyphony and Harmony
Emotional Expression
Keyboard Technique
Emanuel Bach deeply respected his fatherʼs works and, while inheriting that style, created his own innovative music. Therefore, it can be said that many of Johann Sebastian Bachʼs works, including Fantasia BWV 906, had a significant influence on Emanuel Bach.
I asked ChatGPT4o: "Bach composed several fantasias, including BWV 902 and BWV 906. What distinguishes BWV 906 from other works?"
BWV 906 is characterized by its unfinished form compared to other fantasias. After a short introduction, the piece unfolds in a free, fantastical style, but the rapid fugue section ends abruptly. Compared to BWV 902 and other fantasias, it is unique in emphasizing experimental aspects of form and technique. Additionally, Bachʼs innovative approach is particularly evident in the progression of tonality and the handling of harmony.
I asked ChatGPT4o: "Please elaborate on the ʼemphasis on experimental aspects of form and technique.ʼ"
The “emphasis on experimental aspects of form and technique” in BWV 906 can be explained as follows.
The fact that the fugue section of BWV 906 ends abruptly is highly unusual. Typically, Bachʼs fugues are presented in complete form, but this piece does not have a clearly concluded structure. Whether this incompleteness was intentional or the result of interrupted writing is unknown, but it innovatively leaves the listener with unresolved tension.
In the opening free fantasia section, the boundaries of tonality are ambiguous, and the development is not firmly rooted in the traditional tonic but is characterized by rapidly shifting tonalities. This freedom of tonality contrasts with Bachʼs other works, which generally pursue strict harmonic structures.
The handling of rhythm in the fantasia section departs from regular meter, giving an impression of improvisation. This gives the piece a lively character, as if it were a record of the performerʼs improvisation rather than “written music.” Compared to more formally balanced fantasias like BWV 902, this aspect is very bold.
In the fugue section, the subject is presented but ends immediately, so the usual contrapuntal development is not seen. This results in experimental elements that deviate from traditional fugues, such as repetitions with a ritornello-like atmosphere and a rondo-like fluidity.
The free expressiveness of BWV 906 suggests that Bach, as he approached his later years, was incorporating influences from the empfindsamer Stil. This style emphasizes emotional expression, and the piece is characterized by a structure where strong tension and release alternate. The adoption of such a style signifies a departure from classical forms, conveying a sense of innovation.
Considering these elements, BWV 906, while formally unfinished, can be said to be a work that vividly expresses Bachʼs musical curiosity and experimental spirit.
I asked ChatGPT4o: "There are other unfinished fugues, so it doesnʼt seem like this piece is particularly special."
Thank you for your comment. Indeed, there are other unfinished fugues in Bachʼs works (for example, the final piece of “The Art of Fugue” (BWV 1080)). Therefore, it is not accurate to consider the incompleteness of BWV 906 as unique. However, the following characteristics can be noted as points where this piece differs from other unfinished fugues.
The fugue section of BWV 906 is characterized by a light and clear subject compared to Bachʼs other strict fugues. This harmonizes with the overall free character of the work and is convincing as part of the piece, even if unfinished. For example, the unfinished fugue in “The Art of Fugue” is interrupted within a tightly contrapuntal structure, while the fugue in BWV 906 ends with an emphasis on lightness and brightness.
The fantasia section of BWV 906 has a free and improvisational character, but the following fugue shows an intention to return to formal discipline. This contrast is emphasized, so the incompleteness rather gives the listener a sense of surprise and mystery. In other unfinished fugues (such as “The Art of Fugue”), the focus is on the overall technical completeness, while BWV 906 stands out for its expressive contrast.
The entire piece is considered to have a strong connection to the empfindsamer Stil. Especially the free tonal progression in the fantasia section and the light subject of the fugue part emphasize emotional expression more than traditional Bach works, foreshadowing the next generationʼs musical style. Even if unfinished, its incompleteness can be perceived as an "improvisational expression of emotion" in the empfindsamer Stil, aligning with the character of the piece.
The fact that it is an unfinished fugue itself may not be a noteworthy feature, as it is also seen in other works by Bach. However, BWV 906 is a special work in that it experimentally pursues a light and free fugue subject, the contrast between the emotionally rich fantasia section, and the empfindsamer Stil expression. This gives it a unique artistic value, even though it is unfinished.
I asked ChatGPT4o: "Among Bachʼs works, what other pieces have dramatic expression and emotional richness like BWV 906?"
Among Johann Sebastian Bachʼs works, several pieces are characterized by dramatic expression and emotional richness similar to BWV 906. Here are some representative works.
“Toccata and Fugue in D Minor” BWV 565
“Toccata in C Minor” BWV 911
“English Suite No. 2 in A Minor” BWV 807
“St. John Passion” BWV 245
“St. Matthew Passion” BWV 244
“Cantata No. 82 ʼIch habe genugʼ” BWV 82
“Cantata No. 140 ʼWachet auf, ruft uns die Stimmeʼ” BWV 140
“The Musical Offering” BWV 1079
“Goldberg Variations” BWV 988
These works emphasize Bachʼs rich emotional expression and dramatic elements, and many elements can be seen that are similar to BWV 906.
I asked ChatGPT4o: "Is there any record of how Emanuel Bach, famous for the empfindsamer Stil, regarded this piece?"
There is no record of Emanuel Bach (C. P. E. Bach) directly mentioning BWV 906. Therefore, it is difficult to know exactly how he evaluated this piece. However, based on Emanuel Bachʼs musical style and thinking, and his position as a representative composer of the empfindsamer Stil, some assumptions can be made about how he might have perceived this piece.
The fantasia section of BWV 906 is highly improvisational and features notable emotional fluctuations, which are very compatible with the characteristics of the empfindsamer Stil. Emanuel Bach emphasized emotionally rich and varied music in his works. Therefore, the expressively rich musical language seen in the fantasia section of BWV 906 likely resonated with Emanuel.
Emanuel Bach respected his father Johann Sebastian Bachʼs contrapuntal techniques but leaned towards the empfindsamer Stil and freer forms. The unfinished fugue of BWV 906, with its emphasis on a light subject rather than strict counterpoint, can be considered closer to the “new musical style” that Emanuel favored. On the other hand, the fact that it is unfinished might have appeared to Emanuel as “a work in progress towards completion.”
Emanuel inherited his fatherʼs legacy while establishing his own style. A work like BWV 906, combining free emotional expression (fantasia section) and formal elements (fugue section), symbolizes the tradition of the Bach family and the innovation of the next generation. Therefore, Emanuel might have evaluated this piece not as his fatherʼs “past style” but as a "work suggesting the future."
Emanuel Bach was also active as an educator and played a role in passing on his fatherʼs works to the next generation of musicians. A piece like BWV 906, with its improvisational expressiveness and free handling of tonality, would have been excellent as a teaching material, and Emanuel might have appreciated this aspect.
There is no definitive evidence of how Emanuel Bach perceived BWV 906, but considering the points where the free expression and empfindsamer Stil characteristics of this piece align with his aesthetics, it is possible that he received it with interest as an example of connecting his father Johann Sebastian Bachʼs tradition to a new style. Additionally, regarding its unfinished state, he might have seen room for further development.
I asked ChatGPT4o: "Is there any information on what Sebastian Bach wrote or said about this piece, or his intentions in composing it?"
There are no existing records of direct comments by Johann Sebastian Bach regarding BWV 906 (Fantasia and Fugue in C Minor), nor any letters or words specifically about this work. Therefore, it is difficult to know exactly what intentions or thoughts he had for this piece.
However, by considering the following situations and contexts, we can speculate on how he might have positioned this work.
The exact year of composition for BWV 906 is unknown, but it is believed to have been written in the later part of Bachʼs life. During this period, he was shifting his compositional focus from religious music to keyboard works and scholarly music, particularly emphasizing the exploration of counterpoint and form in works like “The Art of Fugue” (BWV 1080) and “The Musical Offering” (BWV 1079). Given this background, BWV 906 may have been written as a venue for formal experimentation and testing new ideas.
The fantasia section of BWV 906 is improvisational, with a notable expression of emotional movement. This free style may suggest Bachʼs intention to broaden the scope of expression beyond more disciplined forms. The character of this fantasia influenced the next generation of composers (especially Emanuel Bach) and foreshadows the empfindsamer Stil.
There is no clear record of why the fugue is unfinished. The following possibilities are considered:
There is no record of the specific purpose for which this piece was composed, but the following possibilities exist:
There is no definitive information about Johann Sebastian Bachʼs intentions or purposes in composing BWV 906, but the free structure and unfinished state of this piece are considered to reflect his experimental and exploratory nature. While we cannot know how he evaluated this work, considering its significant influence on the next generation of composers, it may have been regarded as an important piece.
I asked ChatGPT4o: "Is it conceivable that Sebastian Bach wrote this piece under the influence of Emanuel?"
Considering the possibility that Johann Sebastian Bach (hereafter referred to as Sebastian) wrote BWV 906 under the influence of Emanuel Bach is an intriguing perspective. While it cannot be completely ruled out that Sebastian was influenced by Emanuelʼs music, considering the historical background and the relationship between Sebastian and Emanuel, this possibility is considered low. Here are the reasons for this.
The composition period of BWV 906 is believed to be in the later years of Sebastianʼs life. On the other hand, Emanuel Bachʼs establishment and influence of the empfindsamer Stil became more pronounced after Sebastianʼs death. Even if the early stages of the empfindsamer Stil appeared during Sebastianʼs lifetime, it likely had not matured to the extent of directly influencing Sebastian.
Sebastian and Emanuel had a complex musical relationship. While Sebastian provided deep musical education to his sons, including Emanuel, and somewhat acknowledged Emanuelʼs move towards new styles, Sebastian himself continued to uphold the traditions of Baroque music. Therefore, it is considered unlikely that Sebastian actively imitated Emanuelʼs musical style or composed based on it.
Sebastianʼs BWV 906 is characterized by a free fantasia section and an unfinished fugue, but these are within his own compositional methods and styles, not directly connected to the empfindsamer Stil. Sebastianʼs improvisational fantasia section can be understood as part of the traditional keyboard music of the Baroque era. In contrast, the empfindsamer Stil emphasized by Emanuel focused on emotional fluctuations and inner expression, representing a new direction. From the perspective of stylistic differences, BWV 906 can be considered an extension of Sebastianʼs existing musical exploration.
On the other hand, it cannot be completely denied that Sebastian might have been inspired by Emanuelʼs performances or works. Emanuel deeply understood his fatherʼs music and pursued a new style based on it. If Sebastian had the opportunity to witness Emanuelʼs performance style or ideas, it might have influenced the development of his own free fantasia section. However, this was likely more of a natural musical exchange between father and son rather than a conscious influence.
It is considered unlikely that Sebastian wrote BWV 906 under the direct influence of Emanuel. This piece can be interpreted as a creation within Sebastianʼs own Baroque style. However, the possibility of mutual influence in the process of Emanuel inheriting Sebastianʼs music and evolving it into a new direction cannot be denied. If further documentary evidence is found on this point, a clearer conclusion may be reached.
I asked ChatGPT4o: “Do we know in what context this piece was performed?”
There are no specific records of the context in which BWV 906 (Fantasia and Fugue in C Minor) was performed. Like many of Bachʼs keyboard works, this piece may have been composed not for specific official occasions but for educational purposes, personal experimentation, or as part of improvisational performances.
Based on the general context of Bachʼs works, here are some possible situations in which this piece might have been performed.
Bach was a very dedicated educator and had many disciples. BWV 906 requires free expressiveness in the fantasia section and contrapuntal technique in the fugue section. Therefore, it may have been used as a teaching material to instruct disciples in improvisational performance methods and the basics of counterpoint.
In 18th-century Germany, private concerts in homes and courts were frequent. BWV 906, with its highly free character and strong elements of improvisation, may have been used by Bach himself or his disciples to perform in front of an audience and showcase improvisational skills. The emotionally rich expression and structural contrast of this piece could have made a strong impression on listeners.
BWV 906 may have been composed for Bachʼs own purposes. Especially in the fantasia section, the free progression of tonality and improvisational rhythm stand out, suggesting that Bach wrote it as a work to explore and experiment with his musical ideas.
The character of BWV 906 is not well-suited for use as liturgical music. Therefore, it is natural to think that this piece was performed in more secular environments, such as noble courts or gatherings of intellectuals, rather than in religious settings.
Bach published many keyboard works to earn income, but there is no record of BWV 906 being published. Therefore, this piece was likely not written for specific economic purposes but was mainly intended for personal or educational use.
Since there are no records of the specific context in which BWV 906 was performed, nothing definitive can be said, but it was likely performed for purposes such as education, private concerts, and the exploration of Bachʼs own compositional techniques. The free expression and unfinished fugue section of this work suggest that it was primarily performed for personal or intimate audiences rather than in specific official settings.
I asked ChatGPT4o: "If this piece is connected to the empfindsamer Stil, who else besides Emanuel might have influenced it?"
If BWV 906 (Fantasia and Fugue in C Minor) is considered to be connected to the empfindsamer Stil, there are several composers and musical trends that Johann Sebastian Bach might have been influenced by, besides Emanuel Bach. Although it is not clear whether Sebastian was directly influenced, there may have been indirect influences from musicians and concepts that contributed to the formation of the empfindsamer Stil.
Here are some candidates and explanations.
French harpsichord music is characterized by emotional expression and decorative improvisation. It is certain that Bach was familiar with the styles of François Couperin and Jean-Philippe Rameau. Especially Couperinʼs "musical portraits" and Rameauʼs harmonic theories may have provided hints for free tonal progression and emotionally rich expression.
Telemann, a contemporary of Johann Sebastian Bach, had a free and expressive style. Telemann is considered one of the pioneers of the empfindsamer Stil, and his works were known to Sebastian Bach. Especially Telemannʼs keyboard and chamber music works exhibit a free and emotional character, which may have influenced the improvisational fantasia section of BWV 906.
Of course, the influence of Emanuel Bach cannot be ignored. Emanuel, as Sebastianʼs son, learned his fatherʼs music while establishing his own empfindsamer Stil. If Sebastian had the opportunity to see Emanuelʼs works or performances, the free expression and emotional fluctuations might have influenced BWV 906.
Johann Sebastian Bach studied and arranged Vivaldiʼs works. Vivaldiʼs music is characterized by emotional and dramatic expression, and this influence extends to Sebastianʼs works. The dramatic expression in the free fantasia section of BWV 906 may have been indirectly influenced by Vivaldi.
Scheibe, while critical of Bach, is noted as a pioneer of the empfindsamer Stil. Scheibeʼs music emphasized emotional expression and proposed a concise and direct style different from Sebastian Bachʼs strict counterpoint. While it is unclear if Scheibeʼs ideas directly influenced Sebastian, the "new direction of expression" that permeated the music world at the time may be indirectly reflected.
Johann Sebastian Bach was strongly influenced by the North German Organ School (especially Dieterich Buxtehude and Johann Adam Reincken) from a young age. This school frequently used improvisational and free fantasia forms, similar to the free character of the fantasia section in BWV 906.
The empfindsamer Stil was influenced not only by music but also by philosophy and literature. In 18th-century Europe, there was a growing trend to emphasize emotional expression and personal inner experiences. While it is unclear if Johann Sebastian Bach directly engaged with these ideas, they may have been indirectly reflected in the free expression of music.
If BWV 906 is considered to be connected to the empfindsamer Stil, besides Emanuel Bach, influences from the traditions of French and German keyboard music, contemporary composers like Vivaldi and Telemann, and the North German Organ School can be considered. Additionally, the philosophical and literary trends of the 18th century may have influenced the emotional expression and improvisational character of this piece.
I asked ChatGPT4o: "Is a performance emphasizing the dramatic expression and emotional richness of BWV 906 available on CD or YouTube?"
Performances emphasizing the dramatic expression and emotional richness of BWV 906 can likely be found on YouTube and CD. In particular, interpretations by specialists in Baroque keyboard instruments or pianists known for expressive performances highlight the characteristics of this piece.
Here are some potential performances:
Piano Performances
Performances of BWV 906 on modern piano often emphasize dramatic elements with a wide range of dynamics and tone colors. It is recommended to look for recordings by highly regarded pianists in Bach performances, such as Glenn Gould or András Schiff.
Performances on Clavichord or Harpsichord
Performances using Baroque instruments like the clavichord or harpsichord more faithfully reproduce the sound Bach might have envisioned for this work. Performances that utilize the subtle expressiveness of the clavichord can convey the sensitivity associated with the empfindsamer Stil.
Searching on YouTube
Many artists have covered BWV 906 on YouTube. Look for performers who pursue dramatic expression or have unique interpretations. Combining artist names with keywords like “dramatic expression” or “emotional richness” may help you find them.
CDs from Baroque Music Specialty Labels
Labels specializing in Baroque music, such as Archiv Produktion or Harmonia Mundi, may have recordings based on historical performance practices.
If you are looking for specific artist recommendations or performances, further research based on current online information is possible, so please let me know!
I asked ChatGPT4o: “Please provide some examples for each.”
Here are some performances that emphasize the dramatic expression and emotional richness of BWV 906 (Fantasia and Unfinished Fugue in C Minor).
Glenn Gould
Gouldʼs performance is known for its unique interpretation and clear touch. His performance of BWV 906 stands out for its dramatic expression and emotional depth.
Alicia de Larrocha
Spanish pianist de Larrochaʼs performance combines delicacy and passion. Her interpretation of BWV 906 is characterized by emotional richness and dramatic expression.
Gustav Leonhardt
Renowned as a harpsichordist, Leonhardtʼs performance shines with expression rooted in a deep understanding of Baroque music tradition. His performance of BWV 906 possesses dramatic elements and emotional depth.
Kazuto Ito
Japanese harpsichordist Kazuto Itoʼs performance is characterized by delicate yet powerful expression. His interpretation of BWV 906 beautifully merges emotional richness and dramatic expression.
Brianna Matzke
Pianist Matzkeʼs performance combines modern sensibility with a deep understanding of Bachʼs works. Her performance of BWV 906 stands out for its dramatic expression and emotional richness.
[The site creator also recommends the following performances:
Performance by Konstantin Lifschitz,Performance by Veronika Kuzmina Raibaut.Most of the above performances are without the fugue, but the following performance includes the fugue:Chiara Massini - J.S. Bach, Fantasia and Fugue in C minor, BWV 906.]
These performances are available on YouTube. By enjoying the interpretations reflecting each performerʼs individuality, you can deeply appreciate the diverse charm of BWV 906.