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Fantasia and Fugue in C minor, BWV562

composer
fugue unfinished

 
If that concept is essentially North German, the Fantasia in C minor, BWV562 could not be more French-inspired. As a boy, Bach had transcribed Nicolas de Grigny’s Livre d’Orgue and the opening idea here is close to that of the first fugue for the Gloria in that volume. Further, the layout of the four manual voices in pairs is similar to other de Grigny movements, where the two hands (each in two parts) are registered differently over a continuo pedal bass. Bach further adds to the illusion with his copious ornamentation. The five-part fugue intended to follow this fantasia breaks off after 27 bars.

from notes by Robin Langley © 1993

Si ce concept est essentiellement nord-allemand, la Fantaisie en ut mineur, BWV562 ne pourrait être plus française d’inspiration. Bach avait, dans sa jeunesse, transcrit le Livre d’Orgue de Nicolas de Grigny et l’idée initiale de la fantaisie est proche de celle de la première fugue pour le Gloria, dans le volume français. De plus, la disposition des quatre voix manuelles en paires ressemble à d’autres mouvements de Grigny, où les deux mains (chacune en deux parties) sont enregistrées différemment au-dessus d’un continuo de pédale. Bach améliore l’illusion avec sa luxuriante ornementation. La fugue à cinq parties qui devait suivre cette fantaisie s’arrête après 27 mesures.

extrait des notes rédigées par Robin Langley © 1993
Français: Alain Midoux

Im Gegensatz zu diesem grundsätzlich norddeutschen Konzept ist die Fantasie in c-Moll, BWV562 besonders stark französisch inspiriert. Als Knabe hatte Bach Nicolas de Grignys Livre d’Orgue transkribiert, und das vorliegende Eröffnungsmotiv steht dem der ersten dort aufgeführten Fuge für das Gloria nahe. Ferner ähnelt die Anordnung der vier pärigen Manualstimmen anderen Satzformen de Grignys, welche die zwei Hände (zu je zwei Stimmen) über einem Continuobaß im Pedal unterschiedlich registrieren. Bach verstärkt mit seinen reichhaltigen Verzierungen diesen Eindruck. Die fünfstimmige Fuge, die dazu bestimmt war, an die Fantasie anzuschließen, bricht nach 27 Takten ab.

aus dem Begleittext von Robin Langley © 1993
Deutsch: Anne Steeb/Bernd Müller

Recordings

Bach: Great Fantasias, Preludes & Fugues
CDD220622CDs Dyad (2 for the price of 1)
Bach: Organ Cornucopia
CDA67139
Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted

Details

Movement 1: Fantasia
Track 3 on CDD22062 CD1 [5'30] 2CDs Dyad (2 for the price of 1)
Track 3 on CDS44121/36 CD2 [5'30] 16CDs Boxed set (at a special price) — Deleted
Movement 2: Fugue
Track 3 on CDA67139 [1'19]
Track 3 on CDS44121/36 CD8 [1'19] 16CDs Boxed set (at a special price) — Deleted

Track-specific metadata for CDD22062 disc 1 track 3

Movement 1: Fantasia
Artists
ISRC
GB-AJY-93-79103
Duration
5'30
Recording date
24 April 1993
Recording venue
Jesuitenkirche, Lucerne, Switzerland
Recording producer
Paul Spicer
Recording engineer
Paul Niederberger
Hyperion usage
  1. Bach: The Great Fantasias, Preludes & Fugues (CDA66791/2)
    Disc 1 Track 3
    Release date: October 1993
    Deletion date: February 2006
    2CDs Superseded by CDD22062
  2. Bach: Great Fantasias, Preludes & Fugues (CDD22062)
    Disc 1 Track 3
    Release date: November 2006
    2CDs Dyad (2 for the price of 1)
  3. Bach: The Complete Organ Works (CDS44121/36)
    Disc 2 Track 3
    Release date: October 2002
    Deletion date: March 2009
    16CDs Boxed set (at a special price) — Deleted
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