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【钢琴】András Schiff, 巴赫: 半音幻想曲与赋格, BWV 903, Bach: Chromatic Fantasia and Fugue
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Of all the marvels available in the keyboard repertory of Johann Sebastian Bach (1685-1750), some fall into a small category of works that are so anomalous in the way they are written on the page that they appear at first blush to belong to another composer. The Chromatic Fantasia and Fugue in D minor, BWV 903, belongs in this category, although a good performance easily demonstrates much of the mature language that Bach mastered composing not only for solo keyboard but also for any solo instrument. Commencing with what appears to be a purely monophonic line of improvisation (that is, one running line of scale passages without harmonization), the nimble figures move the player’s hands relentlessly up and down, to and fro, using repetition to form rhythmic and metric groupings of notes. In the original score, which survives mostly through copies written out by Bach’s students, some of the arpeggios are held and sustained into chords ad libitum, while simply notated chords are expressly indicated to be similarly broken into arpeggios. Roughly halfway into the Fantasia, the music suddenly breaks into an extensive and ponderous recitative. The fugue subject begins with a stepwise movement upwards between A and C, giving the work its subtitle “chromatic.” This figure also tricks the listener into believing that the fugue might start in F major instead of D minor. When composer Max Reger (1873-1916) published some of Bach’s keyboard works arranged for organ in 1901, there was some criticism that his approach to the organ was more Romantic than Baroque. Nonetheless, Bach himself seems to challenge composers from later eras to rework the materials and find new things to say with them, and this Fantasia and Fugue is no exception.
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