Carl Philipp Emanuel Bach and the free fantasia (under construction)
Versuch über die wahre Art das Clavier zu spielen
Von der freien Fantasie, Part II, Chapter 41, pp. 325-341
(Berlin, 1753 part I, 1762 part II)​​​​​
Full text chapter 41
German / English
CPE Bach seated at the harpsichord in a painting by Adolph von Menzel, 1852
'Anyone who has heard the Herr Kapellmeister improvising on the fortepiano, and who is somewhat of a connoisseur, will gladly admit that one could hardly imagine anything more perfect in this genre. The greatest virtuosos who were here in Hamburg, and who stood beside him when he was in the right mood and improvised for them, were astonished at the ideas, transitions, bold and never-before-heard and yet correct modulations, in one word, at the great richness and treasures of harmony that Bach presented to them, many of which were still unknown to them, rubbed their foreheads in disbelief and regretted - - that they did not also possess such knowledge.'
Carl Friedrich Cramer: Magazin der Musik 2/2 (5 August 1786), p. 871.​​​​​​​​​
Wer dem Herrn Capellmeiſter auf dem Fortepiano fantaſiren gehört hat, und nur etwas Kenner iſt, wird gerne geſtehen, daß man sich kaum etwas Vollkommeners in dieſer Art denken könne. Die größten Virtuofen, welche hier in Hamburg geweſen, und neben ihm ſtanden, wen er grade im ſeiner Laune war, und ihnen ſo vorfantaſirte, erſtaunten über die Einfälle, Übergänge, kühne, nie gehörte und doch ſatzrichtige Ausweichungen, mit einem Worte, über die großen Reichthümer und Schätze der Harmonie, die ihnen Bach darlegte, und davon ihnen ſelbft viele noch unbekannt geweſen, rieben ſich die Stirne und bedauerten — — daß ſie nicht auch ſolche Kenntniſſe befätzen.
Carl Philipp Emanuel Bach (1714-1788) was one of the most significant composers of the second half of the 18th century. He was renowned for his passionate clavichord improvisations, particularly in the free fantasia style, and for his uniquely contrasting compositions that emerged from his improvisational practices. Admired by generations of composers, including Beethoven and Schubert, he is often regarded as the "musical father" of the Vienna Classicists. His only formal music teacher was his father, Johann Sebastian Bach, and in addition to his musical training, he also studied law. His landmark treatise, Essay on the True Art of Playing Keyboard Instruments (1753–1762), was the first to recognize the pianoforte as a distinct instrument and laid the groundwork for the first generation of piano instruction manuals that would follow.
Essay On The True Art Of Playing Keyboard Instruments
Chapter 41 of the Essay on the True Art of Playing Keyboard Instruments is entirely dedicated to the art of improvising fantasias and preludes. This chapter does not standalone; it frequently references other chapters where similar elements are discussed in different contexts, such as harmony and embellishments. However, the primary focus here is on the content of Chapter 41.
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Key aspects of chapter 41 include:
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the (freedom of) metre (§. 1);
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the mastery of harmony (§. 2);
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harmonic progressions, its appropriate proportions and figurations (§. 3);
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the choice of instruments, with a preference for the clavichord and piano (§. 4);
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preludes described as short fantasias, built around harmonized scales explored in various forms—sequentially, with added chromaticism, out of order—culminating with pedal points (§. 5-7);
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a section on modulation skills explored in depth, accompanied by numerous examples illustrating the use of the 'semitonium modi' or leading tone, as well as the limitless modulation possibilities offered by the diminished chord (§. 8-11)
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variety in performance practices with figurations, runs, broken chords, harpeggios, accacciature, registers, etc. (§. 12-13)
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These elements are integrated into a fascinating fantasia example presented in two parts: a figured bass serving as a skeleton for a fully worked-out version that incorporates all the above-mentioned techniques (§. 14):​​
Full text chapter 41
German / English
edited score
taken from www.cpebach.org
EMBELLISHING THE REPERTOIRE
CPE Bach mastered the improvisational art of embellisment during the performance of repertoire pieces to the highest degree. This can be seen in written-out examples and varied reprises (veränderten Reprisen) of sonatas.
This is explained in Chapter 2 Von den Manieren (part I):
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Embellishments can very well be divided into two classes. To the first I count those which are sometimes indicated by certain common symbols, sometimes by a few small notes; the second may include the others, which have no signs and consist of many short notes.
Chapter 2, part 1, §. 6
Die Manieren laſſen sich sehr wohl in zwey Classen abtheilen. Zu der ersten rechne ich diejenigen, welche man theils durch gewiſſe angenommene Kennzeichen, theils durch wenige kleine Nötgen anzudeuten pflegt; zu der andern können die übrigen gehören, welche keine Zeichen haben und aus vielen kurzen Noten beſtehen.
Sometimes one ‘fermirt' out of affect, without anything being indicated.​ (...) The other two types are generally found in long and affectionate pieces, and must be embellished, or one falls into the error of simplicity.​​
Chapter 2, part 9 'Von den Verzierungen der Fermaten', §. 3 & §. 4
Zuweilen fermirt man aus Affeckt, ohne daß etwas angedeutet iſt. (...) Die andern zwei Arten findet man gemeiniglich in langſamen und Affecktuoſen Stücken, und müssen verziert werden, oder man fällt in den Fehler der Einfalt.
More about embellishments: VIII/1: Cadenzas, Embellishments, and Compositional Studies (www.cpebach.org)
​​​​​​​​SOME MORE QUOTES
The English music historian and journalist Charles Burney, 12th October 1772:
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'M. Bach was so obliging as to sit down to his Silbermann clavichord and favourite instrument, upon which he played three or four of his choicest and most difficult compositions. (...) In the pathetic and slow movements, whenever he had a long note to express, he absolutely contrived to produce, from his instrument, a cry of sorrow and complaint, such as can only be effected on the clavichord, and perhaps by himself. (...) After dinner, which was elegantly served and cheerfully eaten, I prevailed upon C.P.E to sit down again at the clavichord, and he played, with little intermission, until nearly eleven o’clock that night. During this time, he grew so animated and possessed, that he not only played, but looked like one inspired.'
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TO READ
Annette Richards: The Free Fantasia and the Musical Picturesque. Cambridge University Press, 2001.
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The Packard Humanities Institute: Carl Philipp Emanuel Bach: The Complete Works, www.cpebach.org (including an Autobiography).
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Heinrich Schenker: Die Kunst der Improvisation. In: Das Meisterwerk in der Musik 1. München, 1925.
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Charles Burney: The Present State of Music in Germany, the Netherlands, and United Provinces, 1st ed., London, 1773, 2:259–68; 2:245–79 in the 2nd ed., London, 1775.
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David Schulenberg: C.P.E. Bach. Routledge, 2015.​