Chromatic Fantasia and Fugue

Historical context

The Chromatic Fantasia and Fugue, BWV 903, is a celebrated work that probably dates from circa 1720-23, with internal evidence suggesting it was written possibly before Bach’s Leipzig period. Its early esteem is clear from an anecdote reported by Forkel, who received the piece from Wilhelm Friedemann Bach, inscribed with words from a mutual friend: “Anbey kommt an etwas Musik von Sebastian, sonst genannt: Fantasia chromatica; bleibt schon in alle Saecula.” Forkel himself stated he had “taken considerable pains to discover a similar piece of music by Bach without success,” calling the Fantasia “unique and unequalled.” Remarkably, this piece, for all its technical skill, appeals to the most unpractised hearer, if it is performed at all tolerably.

The work is characterized by an “effervescent character” and “uncontrolled storm and stress,” notably for its “bold idea of transplanting the recitative into a clavier-piece.” This germ of an idea is found in the works of northern organists, and its development was assisted by Bach’s intimacy with Vivaldi’s violin concertos. The greater part of the Fantasia’s passage work is in the form of harmonic arpeggios whose richness and originality match the chords they represent, as Forkel observed. The fugue worthily carries out the chromatic character and startling modulations with a “mighty demoniacal rush.”

Drawn from Forkel, Johann Nikolaus, 1749-1818; Terry, Charles Sanford, 1864-1936, Johann Sebastian Bach; his life, art, and work, tr. from the German of Johann Nikolaus Forkel, with notes and appendices (1920); Spitta, Philipp, 1841-1894, Johann Sebastian Bach : his work and influence on the music of Germany, 1685-1750 (1899) — public domain, archive.org.