These pieces are part of a significant collection of keyboard works written during Bach’s tenure as Cantor in the Saxony town of Leipzig.  Along with the Chromatic Fantasia (BWV 903) this particular pair of pieces represent an evolution of the Baroque style in its harmonic language and chromaticism, while  Bach continues to demonstrate the mastery of counterpoint so characteristic of his keyboard music.

The Fantasia opens with a thickly scored motif of great drama, underpinned by a descending bass line, which is developed by surrounding it with sections of complex counterpoint.  This central motif is heard in various guises throughout before a climactic ending in which the theme returns in its original form.

The Fugue is actually a double fugue, presenting two contrasting subjects, the first a beautifully poised diatonic theme, the second an extraordinarily chromatic descending line.  In the final third of the piece Bach links these two seemingly disparate motifs with breathtaking but characteristic genius.

Parts included:

  • Score
  • Trumpet 1 in B-flat
  • Trumpet 2 in B-flat
  • Horn in F
  • Trombone
  • Tuba

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