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{{Английская Википедия/Панель перехода}}
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{{Infobox Bach composition
| name                 = {{nowrap|''Chromatic Fantasia and Fugue''}}
| bwv                   = 903
| type                  = 
| image                 = Bach Cembalo.jpg
| image_upright         = 1.2
| alt                   = 
| caption               = The Bach Harpsichord in the [[Berlin Musical Instrument Museum]]
| key                   = [[D&nbsp;minor]]
| composed              = {{circa|1720}}
| scoring               = [[Harpsichord]]
| movements     = {{flatlist|
# [[Chromatic fantasia]]
# [[Fugue]]
}}
}}

The '''''Chromatic Fantasia and Fugue''''' in [[D minor]], {{nowrap|[[BWV]] 903}}, is a work for [[harpsichord]] by [[Johann Sebastian Bach]]. Bach probably composed it during his time in [[Köthen]] from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano.

==Sources==
An autograph of this work is not known. The musicologist [[Walther Siegmund-Schultze]] pinpoints the work to the "fermenting Köthen works" because of its improvisatory and expressive nature, using all keys.<ref name="Rueger">Cristoph Rueger (ed.): "Johann Sebastian Bach" in ''Harenberg Klaviermusikführer''. Harenberg, Dortmund 1984, {{ISBN|3-611-00679-3}}, pp. 85–86</ref>

More than 30 different manuscript copies of the piece survive from the 18th and early 19th centuries. The earliest extant copy of the [[Fantasia (music)|fantasia]] dates from before 1735, written by an unknown scribe - this is catalogued separately as BWV-903a. The earliest fully-developed version of the fantasia was written by Bach's pupil [[Johann Tobias Krebs]], likely created while Krebs was studying under Bach in Weimar (1714–1717).<ref name="leisinger-behringer">{{cite book |editor1-last=Leisinger |editor1-first=Ulrich |editor2-last=Behringer |editor2-first=Michael |title=Chromatische Fantasie und Fugue |date=1999 |publisher=Schott/Universal |location=Wein |isbn=978-3-85055-597-5 |edition=2 |page=IX}}</ref> Two other versions emerged around 1730 that include the [[fugue]]; these were possibly written by [[Gottfried Grünewald]] or [[Christoph Graupner]].{{citation needed|date=May 2023}} A manuscript of the double work comes from [[Johann Friedrich Agricola]] and was written between 1738 and 1741.{{sfn|Leisinger|Behringer|1999|p=26}} 

A complete copy by [[Johann Nikolaus Forkel]] ({{circa|1775}}) formed the basis of the first printed editions of the piece by [[Franz Anton Hoffmeister]] (1802) and [[Friedrich Konrad Griepenkerl]] (1820).{{sfn|Leisinger|Behringer|1999|pp=X,27}}

Because of significant differences in details, which can not be traced back to a common basic shape, it is assumed that Bach himself composed the various different versions of the work that are in circulation.<ref>Tamás Zászkaliczky (ed.): ''Anmerkungen des Herausgebers''. In: ''Fantasien & Toccaten: für Klavier, for piano / Johann Sebastian Bach''. Könemann Music, Budapest 2000, pp. 86f.</ref>

==Structure==
{{listen|type=music|header=''Chromatic Fantasia and Fugue'', BWV&nbsp;903, digital performance by [[Kevin MacLeod]]
|filename=Chromatic Fantasia (Bach BWV 903).ogg|title=1. Fantasia|description=
|filename2=Chromatic Fuge (Bach BWV 903).ogg|title2=2. Fugue|description2=
}}
Because of its characteristics the piece became known as ''Chromatic'', a term that did not originate with Bach.

===Fantasia===
The [[chromatic fantasia]] begins as a [[toccata]] with fast, up and down surging runs in thirty-second notes (demisemiquavers) and broken chords in sixteenth-note (semiquaver) triplets, which are often diminished seventh chords lined up in semitones. The second part is a series of very clear and remotely modulating soft leading chords that are written in the oldest copies as "Arpeggio", i.e. they require a spread chord. The third part is entitled ''Recitative'' and includes a variety of ornamented, enriched, highly expressive melodies. This part contains several [[enharmonic equivalent]]s.<ref>[[Hermann Keller]]: ''Studien zur Harmonik Joh. Seb. Bachs''. In: ''[[Bach-Jahrbuch]]''. vol. 41 (1954), {{pp.|50|65}} ([http://www.hermann-keller.org/downloads/007.1954bjbkpl.pdf online] {{webarchive|url=https://web.archive.org/web/20131213121545/http://www.hermann-keller.org/downloads/007.1954bjbkpl.pdf |date=2013-12-13 }}), (PDF file; 832 kB) p. 61.</ref> The recitative finishes with passages that are chromatically sinking diminished [[seventh chord]]s over above the [[pedal point]] on D.
[[File:BWV903-Fantasia.jpg|thumb|300x300px|The beginning of the BWV 903 Fantasia, from a contemporary manuscript copy in the hand of Johann Tobias Krebs.]]

===Fugue===
The theme of the [[fugue]] consists of an ascending half-step line from A to C, here from the third to the fifth of [[D&nbsp;minor]] to the relative major key of [[F&nbsp;major]].
<score sound="1">
\relative c'' { \key d \minor \time 3/4 a bes b c c8 b c4 e, f fis g g8 fis g a bes4 a g f g8 f e d e4 a, cis d }
</score>

==Reception and interpretation==
The virtuosic and improvisational toccata style of the fantasy, in which both hands alternate rapidly, the expressive, tonally experimental character and the key of D&nbsp;minor put the work alongside the famous [[Toccata and Fugue in D&nbsp;minor, BWV&nbsp;565]]. Both works are exceptional and therefore particularly popular compositions in Bach's keyboard music. This assessment was shared by Bach's contemporaries. The first biographer of Bach, [[Johann Nikolaus Forkel]], wrote: "I have expended much effort to find another piece of this type by Bach. But it was in vain. This fantasy is unique and has always been second to none."<ref name="Rueger" />

19th-century interpretations of the piece are exemplars of the [[romantic music|romantic]] approach to Bach's works taken during that period. [[Felix Mendelssohn]], the founder of the Bach revival, played this fantasy in February 1840 and 1841 in a series of concerts at the Leipzig [[Gewandhaus]] and delighted the audience. He attributed this effect to the free interpretation of the fantasy's arpeggios. He used the sound effects of the era's grand piano through differentiated dynamics, accentuating high notes and doubling pedal bass notes. This interpretation became the model for the adagio of Mendelssohn's [[Cello Sonata No. 2 (Mendelssohn)|second sonata for cello and Piano]] (Op. 58), written from 1841 to 1843. This work gives the top notes of the piano arpeggios a chorale melody while the cello plays an extended recitative resembling that of the Chromatic Fantasia and quotes its final passage.<ref>Wolfgang Dinglinger: [https://books.google.com/books?id=DG7t3TgLKyAC&pg=PA65 "Die Arpeggien sind ja eben der Haupteffect."] Anmerkungen zum Adagio der zweiten Cellosonate op. 58 von [[Felix Mendelssohn Bartholdy]]. In: Cordula Heymann-Wentzel, Johannes Laas: ''Musik und Biographie: [[Festschrift]] für [[Rainer Cadenbach]].'' Königshausen & Neumann, 2004, {{ISBN|382602804X}}, {{pp.|65|68}}</ref>

This romantic interpretation was formative; many famous pianists and composers, including [[Franz Liszt]] and [[Johannes Brahms]], used the work as a demonstration of virtuosity and expressiveness in their concert repertoire. It was reprinted in many editions with interpretive notes and scale instructions. [[Max Reger]] reworked the piece for the organ. Even since the rise of the [[historically informed performance]] movement, it remains one of the most popular keyboard works by Bach.<ref name="Rueger" />

There are romantic interpretations by [[Edwin Fischer]], [[Wilhelm Kempff]], [[Samuil Feinberg]] and [[Alfred Brendel]] on the grand piano, and by [[Wanda Landowska]] on the harpsichord. A non-romantic interpretation with surprising accents and without pedalling was presented by [[Glenn Gould]] and influenced more recent pianists such as [[András Schiff]] and [[Alexis Weissenberg]]. The pianist [[Agi Jambor]] combined romantic sonorities and colors with clear voice guidance and emphasized the work's structural relations. Around 1944, [[Kaikhosru Shapurji Sorabji]] composed a virtuosic paraphrase of the fantasy as the 99th of his ''[[Études transcendantes (Sorabji)|100 Transcendental Studies]]''.<ref>[http://www.sorabji-archive.co.uk/etudes/etudes-list.php "100 Transcendental Etudes (1940–44)&nbsp;– List"]. ''The Sorabji Archive''. Retrieved 13 May 2021.</ref>

==Transcriptions==
The work has been [[Transcription (music)|transcribed]] for solo [[viola]] by [[Zoltán Kodály]] in 1950.{{citation needed|date=May 2021}} There is a transcription for [[classical guitar]] by Philip Hii,<ref>{{cite web|url=http://www.philiphii.com/press/audiost.html|title=Bach: New Transcriptions for Guitar|work=[[Audio (magazine)|Audio]]|year=1996|access-date=7 June 2015}}{{Dead link|date=November 2019 |bot=InternetArchiveBot |fix-attempted=yes}}</ref>{{Primary source inline|date=May 2021}} and [[Ferruccio Busoni|Busoni]] made two transcriptions for both solo [[piano]] and [[cello]] and piano, which are catalogued as [[List of adaptations by Ferruccio Busoni#Transcriptions (BV B 20 to 115)|BV B 31 and 38]], respectively. [[Jaco Pastorius]] played the opening parts on [[electric bass]] on his 1981 album ''[[Word of Mouth (Jaco Pastorius album)|Word of Mouth]]''. A transcription for solo cello was made by cellist [[Johann Sebastian Paetsch]] in 2015 and published by the [[Friedrich Hofmeister Musikverlag|Hofmeister Musikverlag]] in Leipzig.<ref>Leipzig: Friedrich Hofmeister Verlag, FH 3021, 3 Pieces from BWV 565, 903, 1004, Leipzig 2015, (Editor/arranger: Johann Sebastian Paetsch), {{ISMN|979-0-2034-3021-6}}</ref> A transcription for solo [[clarinet]] of the fantasy was done by [[D. Stanley Hasty|Stanley Hasty]], professor emeritus of University of Rochester's [[Eastman School of Music]], in 2002.{{citation needed|date=May 2021}} A transcription of the Chromatic Fantasia for solo B♭ clarinet, and fugue in D minor for 3 clarinets (two B♭ clarinets and B♭ bass clarinet) was made by clarinetist [[Richard Stoltzman]] in 2011 and published by Lauren Keiser Music.

== Literature ==
'''Urtext edition'''
* [[Rudolf Steglich]] (ed.): ''Johann Sebastian Bach: Chromatische Fantasie und Fuge d-moll BWV&nbsp;903: Urtext without fingerings.'' G. Henle, 2009, {{ISMN|979-0-2018-1163-5}}
* Heinrich Schenker: ''J.S. Bach's Chromatic Fantasy and Fugue: Critical Edition With Commentary.'' Longman Music Series, Schirmer Books 1984, {{ISBN|0028732405}}

'''Musical analysis'''
* [[Martin Geck]] (ed.): ''Bach-Interpretationen.'' Vandenhoeck und Ruprecht, 2nd edition, Göttingen 1982, {{ISBN|3525332769}}, {{pp.|57–73}} and 213–215
* [[Ulrich Leisinger]], Michael Behringer (eds.): ''Johann Sebastian Bach: Chromatische Fantasie + Fuge (BWV 903/903a). Klavier, Cembalo.'' Wiener Urtext Edition, Schott Verlag, {{ISMN|979-0-50057-191-9}} {{ISBN|978-3-85055-597-5}}
* Stefan Drees: ''Vom Sprechen der Instrumente: Zur Geschichte des instrumentalen Rezitativs.'' Peter Lang, Frankfurt am Main 2007, {{ISBN|3631564783}}, {{p.|75–78}}

== References ==
{{reflist}}

== External links ==
*{{IMSLP|work=Chromatic Fantasia and Fugue, BWV 903 (Bach, Johann Sebastian)|cname=''Chromatic Fantasia and Fugue''}}
*Kerstin Unseld, [[Südwestrundfunk|SWR2]]: [https://www.swr.de/swr2/musik-klassik/musikstueck-der-woche/article-swr-15856.html "Die Einzigartige" (One of a Kind)]. (In German.) Includes live performance of BWV 903 by pianist [[Evgeni Koroliov]] as SWR2's ''Musikstück der Woche'' for April 5–11, 2010.
*Bach Digital Work No. {{BDW|1073}} at bachdigital.de

{{Compositions for Organ, Keyboard and Lute by Johann Sebastian Bach}}
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[[Category:Fugues by Johann Sebastian Bach]]
[[Category:Compositions for harpsichord]]
[[Category:Fantasias (music)|Bach]]
[[Category:Compositions in D minor]]
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