바흐 크로마틱

●★ J.S. Bach : Chromatic Fantasy and Fugue in d minor BWV 903 ★●                                    Perfomed by Andras Schiff                                  at the Greene Space(2013)     ■ J.S. Bach : Chromatic Fantasy and Fugue in d BWV 903   요한 세바스티안 바하(J.S. Bach 1685 3.21~1750 7.28)의 Chromatic Fantasy and Fugue BWV 903. (반음계적 환상곡과 푸가) 바흐의 건반음악 작품중에서도 대단히 멋진 세련된 작품입니다. 바흐의 이 작품은 필사본인 관계로 이 곡이 쓰여진 시기는 정확히 알수없으나 1730년 바흐의 퀘텐 시절에 작곡된 곡으로 추정됩니다(BWV 903 a가 먼저 쓰여진 것으로 이는 대략 1720년으로 추정됩니다) 바흐의 퀘텐시절 다른 건반악기 곡들로는 평균율 1권과 자신의 학생들과 아이들을 위해 작곡된 교육용 작품들이 있습니. 평균율곡집 전주곡과 후가보다 이 환상곡과 후가는 훨씬 큰 스케일로 당시 전주곡, 토카타, 환상곡, 서곡 등이 뒤에 이어지는 푸가와 짝을 이루는 형식으로 작곡되는 것이 보편적인 양식이기도한데요 엄격한 대위기법을 따르는 Fugue 푸가에 반해 앞의 이 곡들은 자유롭고 즉흥적인 성격을 갖습니다.   요한 세바스티안 바흐의 반음계적 환상곡(Chromatic Fantasy)은 16세기 유럽에서 시작된 것으로 바흐의이 작품에서 대담한 화성과 'virtusoity'는 이 곡을 반음계적 환상곡(Chromatic Fantasy)들 중에서도 그리고 그의 다른 작품들 사이에서도 특별한 위치를 갖게된다. 여기서 Chrom은 그리스어 chroma에서 어원을 두곡있는데 이는 색채를 뜨하며 이곡의 대담하고 다양한 화성적 색채감과 연결지어 생각해 보는것도 의미있는 일이겠죠.. 재미있는 것은 바흐 생전에 피아노를 위한 곡은 한곡도 작곡되지 않았는데요 요한 세바스티안 바흐, 그 당시만 해도 피아노라는 악기의 존재 가치를 인정받지 못하는 시기,  오늘날의 이 곡은 오르간, 하프식코드, 그리고 피아노를 통해 연주되고 있습니다. 바흐는 이곡을 피아노를위한 곡이 아니었음에도 적어도 음악사적으로 19세기에 와서는 피아노에 의한 바흐 - 반음계적 환상곡이 주류를 이루고 피아노에 의한 바흐 - 반음계적 환상곡과 푸가 Chromatic Fantasy and Fugue BWV 903. 건반 음악적으로 가장 음악적(건반 음악으로서 최고의 미학적인 학술적인 범위까지)인 완성도를 높인 평가를 받고있습니다.                                                                                                           ■ J.S. Bach : Chromatic fantasia ■   A chromatic fantasia is a specific type 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 (D-E-F-G-A-B♭-C rather than D-E-F-G-A-B-C) even as late as Bach.   ● Some Early Examples Among the earliest examples are two celebrated lute pieces by John Dowland, the Farewell and Forlorn Hope Fancy. These were obviously highly influential of Jan Pieterszoon Sweelinck whose own Fantasia Chromatica in many ways forms a link between the Renaissance and the Baroque.   ● 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 examples of the form. This article about a music genre is a stub. You can help Wikipedia by expanding it. v · t · e Retrieved from "http://en.wikipedia.org/w/index.php?title=Chromatic_fantasia&oldid=562538435" Categories:       The piano was founded on earlier technological innovations. The first string instruments with struck strings were the hammered dulcimers.[3] During the Middle Ages, there were several attempts at creating stringed keyboard instruments with struck strings.[4] By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well known. In a clavichord the strings are struck by tangents, while in a harpsichord they are plucked by quills. Centuries of work on the mechanism of the harpsichord in particular had shown the most effective ways to construct the case, soundboard, bridge, and keyboard for a mechanism intended to hammer strings.   The invention of the modern piano is credited to Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany, as the Keeper of the Instruments. He was an expert harpsichord maker, and was well acquainted with the body of knowledge on stringed keyboard instruments. It is not known exactly when Cristofori first built a piano. An inventory made by his employers, the Medici family, indicates the existence of a piano by the year 1700; another document of doubtful authenticity indicates a date of 1698. The three Cristofori pianos that survive today date from the 1720s.[5][6] While the clavichord allowed expressive control of volume and sustain, it was too quiet for large performances. The harpsichord produced a sufficiently loud sound, but had little expressive control over each note. The piano was likely formed as an attempt to combine loudness with control, avoiding the trade-offs of available instruments. Cristofori's great success was solving, with no prior example, the fundamental mechanical problem of piano design: the hammer must strike the string, but not remain in contact with it (as a tangent remains in contact with a clavichord string) because this would dampen the sound. Moreover, the hammer must return to its rest position without bouncing violently, and it must be possible to repeat a note rapidly. Cristofori's piano action was a model for the many different approaches to piano actions that followed. Cristofori's early instruments were made with thin strings, and were much quieter than the modern piano—but compared to the clavichord (the only previous keyboard instrument capable of dynamic nuance via the keyboard) they were much louder and had more sustain. Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei, wrote an enthusiastic article about it in 1711, including a diagram of the mechanism. This article was widely distributed, and most of the next generation of piano builders started their work due to reading it. one of these builders was Gottfried Silbermann, better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern damper pedal, which lifts all the dampers from the strings simultaneously. Silbermann showed Johann Sebastian Bach one of his early instruments in the 1730s, but Bach did not like it at that time, claiming that the higher notes were too soft to allow a full dynamic range. Although this earned him some animosity from Silbermann, the criticism was apparently heeded. Bach did approve of a later instrument he saw in 1747, and even served as an agent in selling Silbermann's pianos.[7] Piano-making flourished during the late 18th century in the Viennese school, which included Johann Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Streicher (daughter of Stein) and Anton Walter. Viennese-style pianos were built with wood frames, two strings per note, and had leather-covered hammers. Some of these Viennese pianos had the opposite coloring of modern-day pianos; the natural keys were black and the accidental keys white.[8] It was for such instruments that Wolfgang Amadeus Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance of his music. The pianos of Mozart's day had a softer, more ethereal tone than today's pianos or English pianos, with less sustaining power. The term fortepiano is now used to distinguish the 18th-century instrument from later pianos.