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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Organ solo1 other version | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Creative Commons Licence | ||||
| Added by magataganm, 29 Jun 2016 The Fantasia and Fugue in C minor, BWV 562 is a relatively short piece written for the organ by Johann Sebastian Bach. Bach began the composition during his time in Weimar, and an unfinished fugue, probably by Bach, was added in his later life. The piece features a heavily appoggiatura-laden harmony. Bach was hired in 1708 by the ruling duke of Saxe-Weimar, Wilhelm Ernst, as an organist and member of the court orchestra; he was particularly encouraged to make use of his unique talents with the organ. During his tenure at Weimar his fame as an organist grew, and many students of the organ visited him to hear him play and to learn from his technique. The composer also wrote many of his greatest organ works during the period, including the Toccata and Fugue in D minor, BWV 565 and the Prelude and Fugue in E major, BWV 566. The Fantasia and Fugue in C minor was begun during this period, as a lone fantasia in the title key. The fugue was added in 1745, most likely by Bach, but possibly by one of his students or sons. This piece is one of a few by Bach with a considerable period between the composition of its component sections. The fantasia has a very imposing structure and sound, the feel of which is created by the piece's one-measure generative theme. This theme passes between five contrapuntal voices of the organ, with occasional movement into new ideas; even the pedal bass is used for the theme. An interesting feature to the theme is that it contains many appoggiaturas, which provide the piece with a slight virtuosic feel; the harmonies especially contain many such devices The second movement of the Fantasia and Fugue in C minor (BWV 562), which was composed in 1747-48 (or earlier), survives in a fragmentary state. According to certain views the theme and its countersubject did not possess enough melodic and contrapuntal potentials and therefore Bach abandoned the composition altogether. Others suppose that the movement was originally a double fugue, the last pages of which got lost. For that matter, the characteristic proportions of the surviving section also bear evidence of this fact. The exposition of the fugue theme is already followed from bar 22 onwards by a stretto; a similarly concise solution can be found at the beginning of the Fugue in E flat major (St Anna) (BWV 552:2). When Zoltán Göncz started complementing the fragment in 1990, it became evident that the work must originally have been a double fugue. At the same time the piece was a "preliminary study" to an ever greater challenge, the reconstruction of The Art of Fugue. (The article "Reconstruction of the Final Contrapunctus of The Art of Fugue" can be read in English in the International Journal of Musicology, vol. 5, 1996, pp. 25—93; vol. 6, 1997, pp. 103—119.) In the retrospective Zoltán found that completing the Fugue in C minor was easier and more difficult at the same time. This fugue allows namely to proceed in several directions whereas the basic scheme of The Art of Fugue is much more determined. Because the fugue has remained unfinished, the fantasia is performed relatively seldom while the fugue surviving as a torso never, however promising and grandiose it begins Source: Wikipedia (https://en.wikipedia.org/wiki/Fantasia_and_Fugue_in_C_ minor,_BWV_562). I created this transcription of the Fantasia (and reconstructed Fugue) in C Minor (BWV 562) for Pipe Organ. Sheet central : | Fantaisie et Fugue en Do mineur (3 sheet music) | | |||
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