2 ite egal tomake unauthorised Fantasia in C minor ae BWV 906 J.S. Bach, (1685-1750) a2 66) ES o ere = ‘This piece originated around 1729 as a ‘Fantasia per il cembalo' Fantasia for Harpsichord), At a later date second mavernent, although this is not included here. The Fantasia recalls Domenico Scarlatti, a prolife exceptional brilliance and highly idiomatic writing forthe instrument. In particular, the second main’ ‘of hand-crossing, which is common in Scarlatis keyboard music. Bachis handling of binary form in this piece foreshadows sonata form, which became established im ‘second subject’ in a new key (the relative major E lat) at bar 9; ‘development’ of the main themes! of the opening theme coincides with the return ofthe tonic key at bar 34 ‘The piece might be described as a ‘chromatic fantasy’: the top notes of the opening theme: the chief motifs is a chromatic scale figure (bars 5 and 6, second crotchet, right hand), wits (bars 14-15 and 21-9) In the last case, the chromatic motif ends with a fully weiten-out ‘other hand takes over. Dynamics are left to the player's discretion, ‘Sources: autograph MSS: Bach Cholr,Bethichem, Pa, USA: Dresden, Sichsische Landesbiblothek Mas 2SSEES (© 1991 by The Associated Board of the Royal Schools of Music ‘Adapted rom Baroque Keyboard Pieces, BookY, edited by Richard Jones (ABRSM) AB 3993,AB 3993AB 3993AB 3993,