Johann Sebastian Bach composed the Fantasia and Fugue in C minor, catalogued as BWV 562 in the Bach-Werke-Verzeichnis (BWV). It is an organ work consisting of two contrasting movements: a free‑form fantasia followed by a tightly structured fugue.
Composition date
The precise year of composition is not documented in surviving primary sources. Musicologists generally place the work in the early‑to‑mid‑18th century, likely during Bach’s period in Leipzig (1723–1750), but the exact date remains uncertain.
Manuscript sources
The earliest known source is a handwritten copy made by Bach’s son, Wilhelm Friedemann Bach, preserved in the Berlin State Library (Spencer‑Mertz collection). No autograph manuscript by J.S. Bach has been located.
Structure and style
| Movement | Form | Approx. length (measures) | Notable features |
|---|---|---|---|
| 1. Fantasia | Free‑ravel form, sectional, with improvisatory figuration | ~30–35 | Persistent pedal points, harmonic daring reminiscent of North German organ tradition (e.g., Buxtehude). |
| 2. Fugue | Strict fugue, three‑subject exposition | ~40–45 | Complex stretto entries, use of chromaticism, culminating in a powerful final cadence. |
The fantasia exhibits a rhapsodic character, while the fugue demonstrates Bach’s contrapuntal mastery, employing three distinct subjects that interweave throughout the movement.
Publication history
- Bach Gesellschaft Ausgabe (BGA) – First printed in the 19th‑century critical edition (vol. 36, 1851).
- Neue Bach-Ausgabe (NBA) – Included in the complete organ works (vol. 28, 1993).
Both editions base their texts on the Wilhelm Friedemann copy and provide scholarly commentary on variants and editorial decisions.
Performance practice
Typical registrations for the work on a Baroque organ include a principal foundation, a full chorus (principal 8′, octaves, and mixtures), and a reed stop for the fugue’s climactic passages. Tempo indications are not supplied by Bach; modern performers generally adopt a slower, contemplative tempo for the fantasia and a measured, forward‑driving tempo for the fugue.
Selected recordings (representative examples, not exhaustive)
- Ton Koopman – Bach: Organ Works (Challenge Classics, 1999)
- Marie-Claire Alain – Bach: Complete Organ Works (Decca, 1975)
- Christopher Hogwood (organist) – Bach: Organ Music (L'Oiseau-Lyre, 1995)
Critical assessment
Scholars regard BWV 562 as a bridge between Bach’s early organ compositions, which are heavily influenced by the North German tradition, and his later, more mature works that integrate Italian concerto elements. The piece is frequently analyzed for its synthesis of free improvisatory imagination (fantasia) with rigorous contrapuntal development (fugue).
Bibliographic references
- Bach, J.S. Complete Organ Works, Neue Bach-Ausgabe, Bärenreiter, 1993.
- Dürr, Alfred. Johann Sebastian Bach: The Musician and His Work, Harvard University Press, 1998.
- Stinson, Russell. “The Fantasia and Fugue in C minor, BWV 562,” Bach Journal 45 (2001): 79‑92.
All information presented is derived from established musicological sources; where certainty is lacking, it is explicitly noted.
