That Bach was capable of great harmonic richness (even if less consistently organized) not only in his maturity is seen in the central section of the Fantasia in G major
, BWV572. Dating from 1705/7, and also known as Pièce d’Orgue
, this three-sectioned piece is remarkable for the consistency with which the single idea that comprises each section is pursued. A toccata of patterned chords, and a coda of acciaccatura-strewn broken chords, enclose a French-influenced panoply of continuously eliding five-part harmony.
from notes by Robin Langley © 1993