C. Ph. E. バッハのフライエ・ファンタジーに関する研究 ―Ausweichung からModulationへ―

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  • A Study on the free fantasies of C. Ph. E. Bach ―The change from Ausweichung to Modulation―
  • C. Ph. E. バッハ ノ フライエ ・ ファンタジー ニ カンスル ケンキュウ : Ausweichung カラ Modulation エ

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Carl Philipp Emanuel Bach (1714-1788) was the most important composer in the Fantasia genre.He was a musical spokesman for the era, particularly in his music for solo keyboard. E. Bach defined liberties of time and tonality as the conditions for Freie Fantasien (“Free Fantasies”) and provides his own detailed interpretation of this in his book “Versuch uber die wahre Art das Clavier zu spielen” (first published in 1762). In this book, E. Bach uses the musical term “Ausweichung” to signify modulation, but R.Kramer noted that the term “Modulation” is only used in a new paragraph added to the second edition of Bach’s book published in 1797. 　In this study, I analyzed the Fantasias Wq.117-14 (composed in 1762 or earlier) and Wq.61-6 (composed in 1786) to elucidate the differences in the characteristics of modulation between the two compositions. It was also clarified that the change in concept from “Ausweichung” to “Modulation” is reflected in E. Bach’s Fantasia creations, whereas the nature of Fantasia that Bach intended to achieve through his Fantasia compositions remains consistent, even when the method of modulation changes from “Ausweichung” to “Modulation”.

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