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

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.