C・Ph・E・バッハのフライエ・ファンタジーにおける演奏表現の可能性 : 初期のFreye Fantasie Wq117/14とその演奏表現を例に

藝術研究 Issue 35 Page 17-36 published_at 2022-09-01
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Title ( jpn )
C・Ph・E・バッハのフライエ・ファンタジーにおける演奏表現の可能性 : 初期のFreye Fantasie Wq117/14とその演奏表現を例に
Title ( eng )
Possibilities of Expression in the Performance of Carl Philipp Emanuel Bach’s Fantasias: Using the Example of His Early Freye Fantasie Wq 117/14 and Expression in Its Performance
Source Title
Annual Review of Hiroshima Society for Science of Arts
Issue 35
Start Page 17
End Page 36
Number of Pages 20
Journal Identifire
[ISSN] 09149872
[NCID] AN10217323
Carl Philipp Emanuel Bach (hereinafter “E. Bach”) was a leading composer of Freye Fantasie. In his Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments) , he gives a detailed analysis of Wq 117/14 as an example of a freye fantasie. This paper considers the expressive possibilities in fantasie performance from the performer’s perspective based on E. Bach’s written views on the fantasie and analyses of his own compositions.
Just as E. Bach states that liberties of time and tonality are requirements for a freye fantasie, Wq117/14 is unmeasured (has no bar lines) and moves through many keys. In particular, at the parts where the characteristic modulations of the freye fantasie take place, E. Bach intentionally omits chords and bass notes. Performers must devise their own performance expressions while trying to understand E. Bach’s intentions, which he purposely did not write into the score. The author proposes performance expressions that are possible with the modern piano based on a comparison of CD recordings of the piece by four different performers.
Resource Type journal article
Hiroshima Society for Science of Arts
Date of Issued 2022-09-01
Publish Type Version of Record
Access Rights open access
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