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[1] Fantasias have been part of the western music tradition for centuries, but have proven problematic since their inception. Writers struggle to characterize works within the genre; they are conflicted between describing fantasias as the most wondrous pieces and faulting them for an apparent lack of formal coherence. Though many leading composers--including C.P.E. Bach, Haydn, Mozart, Beethoven, Schubert and Schumann--wrote fantasias, they have been marginalized in terms of repertory and scholarship. Nevertheless, Fantasie elements, which incongruously wormed their way into more formal genres such as the sonata, were among the most essential compositional components, prized by composers and audiences alike.
[2] Many noted scholars have ventured to explain these enigmatic pieces. In the eighteenth century Charles Burney catalogued the prodigious improvisatory ability of C.P.E. Bach on the clavichord and provided an account of what late eighteenth-century improvisation looked and sounded like.(2) C.P.E. Bach wrote about the fantasia and fantasie procedures in the Versuch.(3) The eighteenth-century theorists Sulzer and Koch devised ways of dealing with the compositional process involved in creating this music.(4) In the early part of the 20th century, Schenker analyzed fantasias by C.P.E. Bach.(5) More recently Charles Rosen, Leonard Ratner, and Joel Lester have provided models for understanding late eighteenth-century music.(6) Mark Evan Bonds and Elaine Sisman have added to the scholarship, incorporating rhetoric and musical wit.(7) The central issue raised by these accounts is whether we can derive meaning from the fantasia--a genre that often seems to lack formal procedures. More generally, this gets at the problem of finding meaning in instrumental music.
[3] To better understand fantasias, scholars have employed various metaphors to help delineate structure. A conventional form not only drives perception and expectation, it promotes coherence. Authors like Bonds have claimed that rhetoric served as the model for eighteenth-century musical composition. In my own work on C.P.E. Bach, I claim that for his fantasias this archetype was indeed the rhetorical model. Depending on the listeners familiarity with the rhetorical model, C.P.E. Bach could play with the audience's expectations to heighten their sense of drama. The fantasia and eighteenth-century music in general are poetic: "'you do not alter the words of the language, they remain always the same; what counts is the manner in which you put them together!'"(8) C.P.E. Bach's affective musical discourses involved many contrasting rhetorical materials such as exclamation, interjection, suspension, interruption, affirmation, and negation. Through the dramatic use of these semiotic guides, situating them within the framework of the rhetorical model, as well as associating these ideas with congruent key affects, C.P.E. Bach produced organized, coherent, musical arguments that were imbued with content and effected communication.
Like the landscape garden, fantasias tenuously balance between the extremes of the beautiful and the sublime. They idle between underlying coherence and surface disruption. Richards points out that though central to contemporary musical conceptions, the influence of the picturesque aesthetic has been overlooked in recent scholarship on eighteenth-century music.
Predicated on a dialectical engagement with the natural and the artificial, and its predilection for irregularity, unruly freedom and ambiguous borders, the picturesque was, and is, an important tool for the conceptualization of contemporary instrumental music, and especially that periods most ambiguous genre, the free fantasia. (p. 6)
Looking through the lens of the picturesque aesthetic allows for a new way of listening to the fantasia and understanding its peculiarities through precisely the startling and disruptive elements that have baffled critics.
Resituating the fantasia within a broader, more picturesque, conception of the eighteenth-century musical imagination offers the present-day performer and listener the opportunity for a new and lively engagement with this music which, in its resistance to notation and its intrinsic instability might offer us--as it offered educated listeners of the period--an unruly and rewarding way to hear anew even the more ordered masterpieces of the late eighteenth-century canon. (p. 100)
[5] Richards study focuses primarily on the fantasias of C.P.E. Bach and also deals with the fantasias and fantasie procedures of works by Haydn and Beethoven. She recreates the picturesque aesthetic for the late eighteenth-century fantasia through a rigorous and well-documented historical account, showing its derivation from landscape gardening. She cites an abundance of contemporary appearances of the veiled Isis (a symbol of Nature concealed, often included in art, monuments, the frontispieces of books, etc.), and establishes that much of the contemporary criticism incorporated metaphors articulated through picturesque vocabulary.
The fantasia, like the picturesque garden, is confined (i.e. uses borders and margins), but the confinement is deliberately concealed--an artfully constructed illusion. Both the landscaped garden and the fantasia are art forms of constant retrospection and reevaluation from different vantage points and levels of distance.
[6] Richards engages contrasting contemporary aesthetic viewpoints. Carl Friedrich Cramer characterized the fantasia with the term, Aussichten, or organization from afar of multiple glimpses from different angles. In Allgemeine Theorie, Sulzer argued for a unified whole out of Natures diversity and multiplicity, for both music and Gartenkunst--a theoretical model for theOriginalgenie. Conversely, the aesthetic theories of Johann Friedrich Reichardt discouraged sudden disjunctions and extreme mixtures of affect as symptomatic of empty virtuosity. Though he praised Haydns and C.P.E. Bachs music as radical transformations in musical thought, these composers could get away with such fanciful compositions only because of their supreme genius and artful handling of disparate musical elements. Richards brings in critical writings on contemporary painting in order to assemble a more general aesthetic of the picturesque that subsumed all of the arts. She invokes the contemporary philosophy of Kant, who claimed that landscape gardening is more closely related to the fantasia than to painting because it is experienced gradually through time, unlike a painting which is static.
[7] What appeared so irregular for the fantasia was its fundamental independence of usual thematic process, harmonic plan, or rhythmic structure. The fantasia relied on a variety of thematic ideas rather than the manipulation and development of a single theme. However, Schenker, in The Art of Improvisation commented that
we see that Bach persists in the most precise orderliness even in the diminution of a free fantasia, and he conceals this orderliness purely for the sake of the fantasia under the guise of disorder; it is precisely this which constitutes the inimitable of his art. (p. 42)
The Eb major (H. 277) and A major (H. 278) fantasias from C.P.E. Bachs Kenner und Liebhaber collections incorporate a wealth of seemingly unrelated ideas and quick, disorienting modulations that often utilize the fully diminished seventh chord. Each one is based on a governing tripartite structure of unmeasured outer sections contrasted with a measured, dance-like middle section. Both of these fantasias end with a reprise of the opening material. Musical fragments are reused, reorganized, and reharmonized, which calls into question what is spontaneous and what is composed, or what is concealed. There is a balance between coherence and incoherence in these pieces. The continuous recasting of musical fragments suggests an active engagement by both composer and listener alike, where musical materials in the present are interpreted and reinterpreted in light of what has come before. Though there is madness, yet theres method in it.
[8] Richards claims that the picturesque qualities of music--the fantastic and unexpected--draw our attention to the conscious act of listening. The fantasia is an active process for both the composer/performer and the listener. Thus, the fantasia demands informed and interpretive listening on the part of the audience. An important element of this aesthetic is silence, which often creates fragmentation and unpredictability. Silence demands interpretation on the part of the listener, and reinterpretation once the music resumes. Richards insightful analyses of the C.P.E. Bach fantasias illustrate how Bach engaged in flights of fancy after abrupt silences, playing on listener expectations. At these moments we find a dialogic engagement between performer and listener, (p. 98) an important turning point in musical aesthetics: imaginative listening. Richards cites Cramer and his metaphor of the cloudscape--the fantasia latent with potential meanings. Cramer valued the contingent and the disruptive as opportunities for imaginative play by the listener, meaningful despite its apparent incoherence (p. 100). Here the interpretive ambiguity is an asset, and an obvious link to emerging Romantic aesthetics. 2ff7e9595c
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