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Fantasias by C.P.E. Bach
This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
The Fantasias of Emanuel Bach
ChatGPT4o writes as follows (please note that it may not be accurate):
Carl Philipp Emanuel Bach (C.P.E. Bach) composed numerous keyboard works, among which several are titled “Fantasia.” These Fantasias are characterized by their improvisatory and free forms and are notable as embodiments of the empfindsamer Stil (sensitive style). Below is an explanation of some representative Fantasias. [Nonexistent pieces and works not classified as Fantasias have been removed from the list provided by ChatGPT.]
1. Fantasia in C Major H. 224 / Wq. 59-6 (Composed in 1784)
- Form and Characteristics:
This Fantasia has an extremely free form, featuring short motifs and contrasting elements appearing in succession. It includes contrapuntal sections and dramatic modulations, richly expressing the emotional shifts characteristic of the empfindsamer Stil.
- Background:
As one of Emanuel Bachʼs later works, it reflects his improvisatory performance style. It incorporates many virtuosic keyboard elements, making it well-suited for performance on the piano or clavichord.
2. Fantasia in C Minor [Actually the 3rd Movement of Sonata in D Minor] H. 75 / Wq. 63-6 (Composed in 1753)
- Form and Characteristics:
This piece features an expansive and free form with very rich emotional expression. Its dramatic modulations and contrapuntal structure are representative of the empfindsamer Stil.
- Background:
This work is included as an appendix in Emanuel Bachʼs theoretical treatise *“Versuch über die wahre Art das Clavier zu spielen”* (Essay on the True Art of Playing Keyboard Instruments), serving an educational purpose.
- Notable Aspects:
The close relationship between text and music gives this work significant academic value.
3. Fantasia in B-flat Major H. 289 / Wq. 61-3 (Composed in 1786)
- Form and Characteristics:
This Fantasia has a free form with a romantic atmosphere. It alternates between highly improvisatory sections and virtuosic passages, delivering dramatic expression.
- Background:
As a late work, it can be seen as a culmination of Emanuel Bachʼs compositional techniques.
- Noteworthy Points:
Composed for the piano, this work reflects Bachʼs improvisatory performance style.
4. Other Fantasias [Additional Works]
- \itemWq. 58-6 Fantasia No. 1 in E-flat Major (H.277): Known for its free form and improvisatory elements, this piece features expressive emotions and a fantastical, delicate sound.
- \itemWq. 58-7 Fantasia No. 2 in A Major (H.278): Distinguished by elegant and bright melodies, the free development lends flexibility to the music, showcasing the instrument’s delicate expressiveness.
- \itemWq. 61-3 Fantasia No. 1 in E-flat Major (H.289): A piece with a fantastical and free-flowing structure, highlighting the empfindsamer Stil through its subtle expressions. Rich harmonies and improvisatory elements are fused together.
- \itemWq. 61-6 Fantasia No. 2 in C Major (H.291): Bright and light melodies unfold freely with abundant improvisatory elements. The piece is flexible and sophisticated.
- \itemWq. 67 Fantasia in F-sharp Minor (H.300): This piece is characterized by a dark, fantastical sound with a dramatic progression and delicate emotional expression. Its improvisatory freedom and deep resonance are captivating.
- Wq. 112-02 Fantasia in D Major (H. 144): An improvisatory and freely unfolding Fantasia, notable for its rich harmonies and flowing melodies, with a bright and refreshing sound highlighting free emotional expression.
- Wq. 112-08 Fantasia in B-flat Major (H. 146): Known for its soft and gentle sound, this piece expands expressive possibilities through improvisational freedom, with bright and graceful melodies.
- Wq. 112-15 Fantasia in F Major (H. 148): Featuring a gentle and familiar melody that develops freely, supported by soft harmonies. Its free form brings out emotionally rich sounds.
- \itemWq. 113-3 Fantasia in D Minor (H.195): A work with free and improvisatory development, marked by the shadows and tension typical of minor keys. Emotional fluctuations are richly expressed in this introspective piece.
- \itemWq. 114-7 Fantasia in D Minor (H.234): Known for its free and improvisatory development, the piece features deeply emotional expressions and richly shaded sounds typical of the empfindsamer Stil.
- Wq. 117-11 (H. 223) Fantasia in G Major: This Fantasia, full of improvisatory atmosphere and free form, unfolds with lively, light melodies and expressive harmonic changes.
- Wq. 117-12 (H. 224) Fantasia in D Minor: The melancholic melodies and unstable harmonic progressions reflect emotional turbulence, with an improvisatory and deeply introspective character.
- Wq. 117-13 (H. 225) Fantasia in G Minor: Dramatic sonorities and strong harmonic movements generate tension. The passionate and empfindsamer style features are well-expressed here.
- Wq. 117-14 (H. 160) Fantasia in D Major: Bright and radiant sonorities stand out, with vivid, lively developments. The piece fuses cheerfulness with elegance.
5. Common Characteristics
1. Improvisation:
Emanuel Bach’s Fantasias are distinguished by their free form and improvisatory nature.
2. Modulation and Tonal Variability:
Frequent modulations create dramatic emotional shifts, a key element of the empfindsamer Stil.
3. Exploitation of Instrumental Characteristics:
These works are composed to fully utilize the tonal colors and expressive capabilities of the clavichord and fortepiano. On the clavichord, subtle volume changes (Bebung) enhance the improvisatory and emotional aspects of the Fantasias.
Emanuel Bachʼs Fantasias are essential for understanding his compositional techniques and expressive depth within the empfindsamer Stil. Through these works, listeners can appreciate his improvisational nature and the importance of performance technique.