Massimiliano Pitocco plays Canzona in D minor (BWV 588) by Johann Sebastian Bach.
Canzona in D minor BWV 588
Bach's interest in Italian music did not only yield to a trend: if the Northern courts, already in the early decades of the 18th century, were crazy for the Mediterranean Concerto, Bach let himself be influenced even in a more radical way . His research went beyond all that his contemporaries had imagined and turned towards the discovery of ancient musicians, old musical forms, of eternal masterpieces. So it is historically confirmed that the "Cantor" devoted himself, in 1714, to transcribe in full the "Musical Flowers" by Frescobaldi: his own unique way to absorb and penetrate other people's artistic creation. But Bach's contacts with Frescobaldi, though not as systematic, had to have some precedents. It seems that he attended the composition of the Canzona in D minor BWV 588 even before the discovery of the "Flowers" in full version. One thing is certain: Bach's Canzona is the fruit of the Italian style song, and the model is undoubtedly Frescobaldi (even if it does not seem credible that Bach borrowed from the musician of Ferrara the theme for his composition) . Bach faithfully follows the traditional writing pattern of this musical form, as it was defined at the end of the 17th century. Within the musical piece, a same theme is twice fugato, first to four times and then three, and the two fugues are separated by some transitional chords. But the constant presence of a chromatic countersubject gives an absolutely modern colour to the Bach's work, so that the author's personality comes out with vigorous outlines, despite the severe antiquity of the chosen form. In this task Bach showed to master completely the most advanced polyphonic techniques of the Renaissance. The "Canzona" is one of the Cantor's most intimist and moved pages who, once again succeeded in the admirable synthesis between north and south.
