Dale Carr | Fantasia in a BWV904 by J.S. Bach, performed by Dale Carr on the Schnitger organ in Norden in 1998 @dalecarr6361 | Uploaded July 2024 | Updated October 2024, 1 hour ago.
Fantasia & Fugue in a BWV904 by Johann Sebastian Bach, performed by Dale Carr on the Schnitger organ in the Ludgerikirche in Norden on 10 June, 1998
{This is a performance of only the fantasy. The fugue can be heard @. youtu.be/rJhxhImTGuQ}
I don't know why this fantasy and the fugue, together known as BWV904, got paired; they are not preserved together in any source from Bach's lifetime. But I can think of several reasons that may have appealed to the editors of the BachGesellschaftEdition:
- the melodic movement e-f-e is important in both the fantasy & the fugue;
- the upward leap of a 4th, ditto;
- neither requires pedals, whether intuitively or by decree, nor does either seem to benefit from a 16' bass sound {if that is even a consideration in Bach's organ works};
- they are of comparable length.
Whether such considerations would have been important to Bach when pairing a fantasy or prelude with a fugue - or to his contemporaries - may well be doubted. But they nevertheless contribute to a satisfying musical coupling, for modern ears at least. However, concerning the 3rd reason above: 1 MS of the fugue specifies "manualiter", i.e. manuals only, which specification is usually interpreted as indicating performance on an organ, since harpsichords did not usually have pedals. On the other hand, 1 MS of the fantasy says "pro Cembalo". There is no autograph copy preserved for either movement.
But the performer is not required to worry overmuch about such considerations; more important is whether the work fits the instrument which is to be played, and in this case I believe that the organ in Norden is able to make good sense of the fantasy.
The fantasy has a very clear structure, with a main subject or ritornello which appears 4 times, separated by episodes using other musical material to modulate to the key of the next occurrence of the ritornello. One might strain to change manuals for the episodes, but this would rather distract from than contribute to the perception of the piece.
Registration: Rückpositiv: 8' Principal, 4' Octav, 2' Octav.
Fantasia & Fugue in a BWV904 by Johann Sebastian Bach, performed by Dale Carr on the Schnitger organ in the Ludgerikirche in Norden on 10 June, 1998
{This is a performance of only the fantasy. The fugue can be heard @. youtu.be/rJhxhImTGuQ}
I don't know why this fantasy and the fugue, together known as BWV904, got paired; they are not preserved together in any source from Bach's lifetime. But I can think of several reasons that may have appealed to the editors of the BachGesellschaftEdition:
- the melodic movement e-f-e is important in both the fantasy & the fugue;
- the upward leap of a 4th, ditto;
- neither requires pedals, whether intuitively or by decree, nor does either seem to benefit from a 16' bass sound {if that is even a consideration in Bach's organ works};
- they are of comparable length.
Whether such considerations would have been important to Bach when pairing a fantasy or prelude with a fugue - or to his contemporaries - may well be doubted. But they nevertheless contribute to a satisfying musical coupling, for modern ears at least. However, concerning the 3rd reason above: 1 MS of the fugue specifies "manualiter", i.e. manuals only, which specification is usually interpreted as indicating performance on an organ, since harpsichords did not usually have pedals. On the other hand, 1 MS of the fantasy says "pro Cembalo". There is no autograph copy preserved for either movement.
But the performer is not required to worry overmuch about such considerations; more important is whether the work fits the instrument which is to be played, and in this case I believe that the organ in Norden is able to make good sense of the fantasy.
The fantasy has a very clear structure, with a main subject or ritornello which appears 4 times, separated by episodes using other musical material to modulate to the key of the next occurrence of the ritornello. One might strain to change manuals for the episodes, but this would rather distract from than contribute to the perception of the piece.
Registration: Rückpositiv: 8' Principal, 4' Octav, 2' Octav.