A chromatic fantasia is a specific form of fantasia (or fantasy or fancy) originating in sixteenth century Europe. In its earliest form, it is based on a chromatically descending tetrachord which arises naturally out of the dorian mode. Consequently the chromatic fantasia is almost invariably in d-minor even as late as Bach. Look up Fantasia in Wiktionary, the free dictionary Fantasia may refer to one of several things. ... The tetrachord is a concept of music theory borrowed from ancient Greece. ... Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... In music, the BACH motif is the sequence of notes B flat, A, C, B natural. ...
Some Early Examples
Among the earliest examples, are two celebrated lute pieces by John Dowland, the farewell and forlorn hope' fancies. These were obviously highly influential of Jan Pieterswoon Sweelinck whose own Fantasia Chromatica in many ways forms a link between the renaissance and the baroque. John Dowland (pronounced to rhyme with Roland) (1563 – February 20, 1626) was an English, possibly Irish-born composer, singer, and lutenist. ... By region Italian Renaissance Spanish Renaissance Northern Renaissance French Renaissance German Renaissance English Renaissance The Renaissance, also known as Il Rinascimento (in Italian), was an influential cultural movement which brought about a period of scientific revolution, religious reform and artistic transformation, at the dawn of modern European history. ... Adoration, by Peter Paul Rubens: dynamic figures spiral down around a void: draperies blow: a whirl of movement lit in a shaft of light, rendered in a free bravura handling of paint In arts, the Baroque (or baroque) is both a period and the style that dominated it. ...
Bach's chromatic fantasia
The chromatic fantasy, as a form, fell into neglect in the later seventeenth century. About a century after Sweelinck, J. S. Bach contributed the most famous of all examples of the form.
In the Baroque and Classical music eras, a fantasia was typically a piece for keyboard instruments with alternating sections of rapid passagework and fugal texture.
Bach'sChromaticFantasia and Fugue, BWV 903, for harpsichord; Fantasia and Fugue in G minor, BWV 542, for organ; and Fantasia and Fugue in C minor, BWV 537, for organ are examples.
In the Romantic period, two contradictory trends greatly affected the fantasia: one was the decline of formal improvisation as a test of the compositional technique; the other was the move by composers toward freer forms.
The ChromaticFantasia and Fugue is highly angular in form and when that feature is combined with the devilish mood of the Fugue, I think the stage is perfect for the harpsichord.
Hewitt's Fantasia is much less detailed than Koroliov's; her fast trills are somewhat blurred (her or the sound); the reading has some fine passages but my overall impression is that this version is not highly distinctive.
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