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

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

末永 雅子

藝術研究

Annual Review of Hiroshima Society for Science of Arts

[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.

日本語

広島芸術学会

Hiroshima Society for Science of Arts

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