[3] A complete copy by Johann Nikolaus Forkel (c. 1775) formed the basis of the first printed editions of the piece by Franz Anton Hoffmeister (1802) and Friedrich Konrad Griepenkerl (1820).

Felix Mendelssohn, the founder of the Bach revival, played this fantasy in February 1840 and 1841 in a series of concerts at the Leipzig Gewandhaus and delighted the audience.

This work gives the top notes of the piano arpeggios a chorale melody while the cello plays an extended recitative resembling that of the Chromatic Fantasia and quotes its final passage.

[7] This romantic interpretation was formative; many famous pianists and composers, including Franz Liszt and Johannes Brahms, used the work as a demonstration of virtuosity and expressiveness in their concert repertoire.

[1] There are romantic interpretations by Edwin Fischer, Wilhelm Kempff, Samuil Feinberg and Alfred Brendel on the grand piano, and by Wanda Landowska on the harpsichord.

A non-romantic interpretation with surprising accents and without pedalling was presented by Glenn Gould and influenced more recent pianists such as András Schiff and Alexis Weissenberg.

The pianist Agi Jambor combined romantic sonorities and colors with clear voice guidance and emphasized the work's structural relations.

A transcription for solo cello was made by cellist Johann Sebastian Paetsch in 2015 and published by the Hofmeister Musikverlag in Leipzig.

[10] A transcription for solo clarinet of the fantasy was done by Stanley Hasty, professor emeritus of University of Rochester's Eastman School of Music, in 2002.