Richard Stoltzman

When I was asked why I was going to do the Chromatic Fantasy
because it’s originally for keyboard, I said, what I can bring to it is breathe.

It’s a kind of singing improvisation and journey.

In the case of Bach, of course, your space speaks to you
and starts to resonate.

Especially in the environment
of the church and this kind of acoustic.

To be swirling and somehow improvised
and the sounds keep moving around.

I was also aware that I could play very, very, very quietly
and still have the sound sustain itself.

To be secretive, to be almost inaudible
yet feel a nurturing of your sound.

Part of Bach’s earthiness was in the use of chromaticism,
in the use of the unexpected turn in the chord progression
or leading voice that took you in another direction.

Bach took the twelve notes and treated them all very personally
and with great honesty, wonder and discovery.