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