||C.Ph.E.バッハのフライエ・ファンタジーに関する研究 : 『クラヴィーア奏法』に付随したWq.63-6とWq.117-14を中心に
A Study on the free fantasies of C.Ph.E.Bach : mainly Wq.63-6 and Wq.117-14 attached to Versuch über die wahre Art das Klavier zu spielen
49 , 2017-03-10 , 広島文化学園大学学芸学部
The free and original nature of the works of Carl Phillip Emanuel Bach is best exhibited in his 18 fantasies. While relying on C.P.E. Bach’s Versuch über die wahre Art das Klavier zu spielen, this paper analyzes the two Freie Fantasien Wq.63-6 and Wq.117-14 from the standpoint of “the liberties of time and tonality,” and considers the concept of “freedom” in musical expression that he tried to convey. While Wq.117-14 is a completely free fantasy, unmeasured passages and regular measured passages coexist in Wq.63-6, and the two fantasies differ in their respective proportions of free passages. Analysis revealed clear differences in ways of tonal design and modulating between the free unmeasured passages and the regular measured passages. In the regular measured passages, closely related keys are selected for modulation and common modulation methods and chord progressions are used, but in the free passages, modulations are carried out over a wide range to the most distant keys and enharmony and other devices are used effectively. At first glance, the fantasies seem freed from confinement to time and tonality and freely composed, but they can actually also be thought of as having been composed under a strict plan based on the compositional theory described in his Versuch.