Luogo e data di registrazione		Bennebroek (Holland) - Febbraio 1970
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9571-B | 1 LP - durata 42' 34" | (p) 1970 | ANA
	Edizione CD		Teldec Classics | LC 6019 | 3984-21354-2 | 1 CD - durata 73' 43" | (c) 1998 | ADD | (BWV 992) Teldec Classics | LC 6019 | 3984-21352-2 | 1 CD - durata 71' 19" | (c) 1998 | ADD | (BWV 903, 996)
	Cover		"Die Musiker". Gemälde von Joakob Ochtervelt (1639-1704)
	Note		-

Bach’s Chromatic Fantasia and Fugue in d minor numbers among the best known and most frequently performed works of the famous cantor of St. Thomas’. A large number of copies of the work were made both during Bach’s lifetime and in later decades. The earliest known was made in 1730, but the Chromatic Fantasia and Fugue is doubtlessly much older. Albert Schweitzer contended that is was composed around 1720, about the same time as the g minor fantasia for organ. Schweitzer characterized the two works with the words: The Fantasia in g minor and the Chromatic Fantasia are “joined together by a kind of inner relationship, not only because the same fire glows in both works, but because in both fantasias the recitative style is carried over into instrumental music.” This does indeed seem to be the guiding principle of this work, which was kept completely free of influences like those of Scarlatti’s Neopolitan style that had decisive effect on the Fantasia in c minor. With its synthesis of figurative, contrapuntal and rhetorical expression, the d minor fantasia is one of Bach’s most integrated compositions. Among the most singular works not only of Bach, but of all keyboard literature, is the Capriccio in B major “sopra la lontananza del suo fratello dilettissimo.” From time to time doubt has been raised as to the true authorship of the piece. But now it can be assumed with certainty that Bach wrote this work when he was nineteen years old - with his brother Johann Jakob in mind: Johann Jakob had been engaged (in 1704) by Charles XII of Sweden as oboist with the Swedish Guard that was then stationed in Poland. The first movement, an arioso, displays richly ornamented variation. It bears the heading “Is flattery for a friend to hold him back from his trip.” The moments of “flattery” probably lie in the parallel sixths in which the upper voces move. The sumptuous ornamentation lends the movement an engaging, courtly character. The second movement, an Andante “is a depiction of various situations that might befall him abroad.” Contrary to the first movement, it brings close-mesh counterpoint, of course without having to give up ornamentation. The following Adagio assai paints “a general lament of friends”; Albert Schweitzer noticed the thematic similarity between the descending chromatics of this movement and the Crucifixus of the b minor Mass. Homophonic and polyphonic formations dominate the following Andante con moto that begins with melancholy diminished seventh chords: “The friends come here becouse they see finally that it can be no other way, and say farewell.” The Aria di Postiglione is presented as a friendly tableau-like tone-painting. In the brilliant concluding movement, a Fuga all’imitazione della cornetta di Postiglione, the fun of the sensitive musical genre vignettes gives way to the seriousness of masterly counterpoint that sets itself off, in comparison to the other movements, through the very extensiveness of this finale. The Fantasia and Fugue in a minor is much less well-known than other of Bach’s keyboard works although it is an attractive and highly important piece. The Kittel copy condenses the two movements for manuals; P. Kellner published the fantasia with the label pro cembalo. Bach specialists, however, are actually more inclined to consider this composition as an organ work. It is, of course, true that, with the exception of a few passages in the fugue, the piece can also be performed without the least difficulty on the harpsichord, in other words, on the manuals, Still, Griepenkerl notes in the foreword to his edition: “The organ characteristics in both movements cannot be overlooked; thus, presupposing the use of the pedals, they must both be excellent on this instrument.” The pompous, polyphonically thick-set style, especially of the Fantasia, is highly imposing. The compact character of its beginning (that constantly returns) ist interrupted by tonally thinner interludes. The double fugue develops into the most complex example of strict contrapuntal construction in Bach’s polyphonic works. It makes use of two unusually strongly constrasting themes. The second theme, a chromatic departure, calls to mind the second fugal subject in Beethoven’s Hammerklavier Sonata, Opus 106. Leading toward the final climax, both themes become intensively intertwined. Perhaps Bach, who played the lute himself, wrote compositions originally for that instrument that were later transcribed for keyboard instruments, like the Suite in e minor. The words “aufs Lautenwerk” (on the lute) added to the title which later made this work known do not stem from Bach, but rather from a later hand (probably at the time around 1800). The suite was composed in Köthen around 1722. Characteristics that are specifically proper for lute tabulature are also to be found in the keyboard version. The playful, virtuoso nature of the piece shines through clearly on the harpsichord at any rate. The usual series of stylized dances are rather surprising introduced by a passionate, recitative prelude. Wolf-Eberhard von Lewinsky