This work is a series of brief variations on the BACH motif, which, in German musical nomenclature, refers to the note sequence B♭-A-C-B♮. Countless composers have paid homage to Johann Sebastian Bach by using the motif in their compositions. I decided upon it as a unifying element for the work as I wished to explore the tonal and expressive possibilities of this note sequence on the carillon. The relative brevity of the variations precludes sustained development of the motif, so I refer to them as “vignettes”: Each is evocative of a thought or mood, but does not stand alone as a work. Thus they should be played together as a whole, in sequence.

The BACH motif appears in a multitude of forms throughout the piece: straight up, unmodified (Vignette I); transposed (I, III, IV, V, VI, VIII); expanded or extrapolated into a longer phrase or melody (II, III, VII, VIII); in retrograde (III, IV); with its note order shuffled (III); broken up (IV, IX); and with altered notes (V, VII, IX), for example, the B♭ changed to a B♮. Also varied are the ways the motif features in the music: as melody in Vignette I; in the baseline, supporting a non-motif related melody (II, V); in two or three musical voices in counterpoint (III, VIII); embedded within the melodic flow, while retaining its identity (IV); and as one of several layers of sound (VI). Sometimes the motif appears only on the manual (IV) or the pedals (II, VI); more frequently it is featured on both (I, III, V, VII, VIII, IX).

More important than the manners in which the motif is deployed, however, is that this work becomes a vehicle for musical expression by carillonneurs of a wide range of experience and technical prowess. It being not explicitly program music, this work invites the performer to imagine their own narrative and infuse their emotions into telling it. Which requires one to consider the obvious question: If these are called vignettes, then what could they be vignettes of?

Here I proffer my own imagination, which is but one of many possibilities. I tend to think of the work as biographical in its depiction, with each variation offering a glimpse into a time and memory of someone's life. There is the youthful confidence and energy in Vignette I which announces the motif, followed by Vignette II where one ventures out and wanders, carefree. Vignette III is boisterous and full of the joy of discovery. The mood turns uncertain and tentative in Vignette IV; the music focuses inwardly, quietly folding in on itself. Without pause, however, one moves on to Vignette V, an airy, joyous interlude whose sound evokes a music box.

A pensive, introspective mood returns in Vignette VI. Here, the familiar motif only emerges after a full twelve measures, the culmination of a progressive layering of sound. But the almost ominous mood dissolves and opens up in measure 100: while the motif marches on below, unchanging, the melody now exudes sweetness and contentment. Might this be an aura of self-acceptance? Vignette VII follows, tinged with a melancholy that perhaps speaks of departure and a farewell. It is optimism that triumphs at the end: Vignette VIII regains the assured voice from the opening, and Vignette IX, a coda, concludes the piece with a proud proclamation of its identity.

—Joseph Fong