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Fantasy in the instrumental music of C. P. E. Bach.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Fantasy in the instrumental music of C. P. E. Bach./
Author:	Head, Matthew William.
Description:	1 online resource (276 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 57-04, Section: A.
Contained By:	Dissertations Abstracts International57-04A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9798208850480

Fantasy in the instrumental music of C. P. E. Bach.
Head, Matthew William.

Fantasy in the instrumental music of C. P. E. Bach. - 1 online resource (276 pages)

Source: Dissertations Abstracts International, Volume: 57-04, Section: A.

Thesis (Ph.D.)--Yale University, 1995.

Includes bibliographical references

Following the publication of his treatise on playing keyboard instruments, C. P. E. Bach was widely considered the foremost authority on keyboard improvisation in Germany. Sulzer, for example, deferred to Bach in his entry Fantasie in the Allgemeine Theorie. Bach's famous improvisations were described in eye-witness accounts by Burney, Reichardt and Cramer, and the latter declared that "no small part" of Bach's reputation rested upon his ex tempore creations. As the most effective means " (to) master the feelings of the audience" (Versuch), improvised fantasias were the pinnacle of a musical art that sought "primarily (to) touch the heart" (Bach's Autobiography). Furthermore, the fantasia embodied the composer's wish to compose for himself, rather than "for specific individuals and for the public" (Autobiography). In the pursuit of "daring and novelty" (components of compositional craft Bach emphasized in a letter to Forkel of 1777), the composer employed fantasy or improvisatory elements in a range of instrumental genres. The eighteenth-century fantasia was defined by three fundamental liberties pertaining to time, tonality and the arrangement of ideas. These liberties underlie unorthodox formal and stylistic features of Bach's solo-keyboard sonatas, independent rondos, concertos and symphonies. For example, improvisatory elements underlie the oft-noted eccentricity of the solo keyboard sonatas; the blurring of refrain and couplet in the rondos, along with a widening of the expressive horizons of this genre beyond the "naivety and artlessness" noted by Koch, and flamboyant departures from traditional movement cycles and ritornello form in the Sei concerti per il cembalo of 1773. In a broad historical context, Bach's fantasia-like treatment of a range of instrumental genres is rooted in the north German tradition of stylus phantasticus (literally, "fantastic style"), stretching from Weckmann through Buxtehude and J. S. Bach, and anticipates the far-reaching influence of the fantasia on early nineteenth-century music, encapsulated in Beethoven's subtitle to the sonatas Op. 27, quasi una Fantasia.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798208850480Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

Bach, Carl Philipp EmanuelIndex Terms--Genre/Form:

554714
Electronic books.

Fantasy in the instrumental music of C. P. E. Bach.
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