W. F. 바흐 vs. C. P. E. 바흐의 건반 판타지아 전곡 비교분석 연구

Abstract

Fantasia is considered as a genre or a musical composition that incorporates a contemporary composer’s creative imaginative power with a free or improvisatory nature or different styles. During the late 16th century, fantasia was composed in ‘points-of-imitation style’ in which it expressed at most freedom, but it much strengthened freedom over time. During this transition period, fantasia was alternatively replaced by the comtemporary improvisatory styles such as ‘toccata’ and ‘capriccio’. Nonetheless, fantasia as keyboard music not only retained its life by J. S. Bach but also became a milestone for the following development. W. F. Bach and C. P. E. Bach solidified the achievement of J. S. Bach to establish the typical type of fantasia for the keyboard music. Namely, fantasia established by both W. F. Bach and C. P. E. Bach influenced Mozart’s and Beethoven’s fantasias, as well as 19th century composers. Although fantasia established by both W. F. Bach and C. P. E. Bach were considered very important in studying a type of keyboard fantasia, few existing studies have not systematically investigated fantasias established by J. S. Bach and his two sons. In other words, the existing studies did not discuss 10 fantasias composed by W. F. Bach in depth at all, and even C. P. E. Bach’s fantasias were slightly dealt with the definition of fantasia mentioned in his own theoretical book and fundamental improvisatory attributes at most. Therefore, this study attempts to examine J. S. Bach’s fantasia thoroughly, and it employs 4 stylistic types resulting from the analysis of J. S. Bach’s fantasias to comparatively analyze both W. F. Bach and C. P. E. Bach’s entire keyboard fantasias.