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The Fantasie in C major, Op. 15 (D. 760), popularly known as the Wanderer Fantasy, is a four-movement fantasy for solo piano composed by Franz Schubert in 1822. It is widely considered Schubert's most technically demanding composition for the piano. Schubert himself said "the devil may play it," in reference to his own inability to do so properly. [1]
Schubert composed this work in late 1822, just after breaking off work on the Unfinished Symphony while sketching its incomplete scherzo. It was written for and dedicated to Carl Emanuel Liebenberg von Zsittin, who had studied piano with Johann Nepomuk Hummel, in the hope of some remuneration from the dedication. [2] It is not only a technically formidable challenge for the performer, but also a structurally formidable four-movement work combining theme-and-variations with sonata form. Each movement transitions into the next instead of ending with a final definitive cadence, and each starts with a variation of the opening phrase of his lied "Der Wanderer", D. 489. The second movement, marked "adagio," states the theme in virtually the same way it is presented in the song, whereas the three fast movements begin with variants in diminution (that is, shortened note values): the first movement, "allegro con fuoco ma non troppo," a monothematic sonata form in which the second theme is another variant, the third, "presto," a scherzo in triple meter, and the finale, marked simply "allegro," starting as a quasi-fugue and making increasing demands on the player's technical and interpretive powers as it storms on to its conclusion.
The whole work is based on one single basic motif from which all themes are developed. This motif is distilled from the theme of the C-sharp minor second movement, which is a sequence of variations on a melody taken from the lied "Der Wanderer", which Schubert wrote in 1816. It is this set of variations from which the work's popular name is derived.
The four movements are played without a break. After the first movement Allegro con fuoco ma non troppo in C major and the second movement Adagio (which begins in C-sharp minor and ends in E major), follow a scherzo presto in A-flat major and the technically transcendental finale, which starts in fugato returning to the key of C major and becomes more and more virtuosic as it moves toward its thunderous nonfugal conclusion.
The Hungarian composer Franz Liszt, who was fascinated by the Wanderer Fantasy, transcribed it for piano and orchestra (S.366) and two pianos (S.653). He additionally edited the original score and added some various interpretations in ossia, and made a complete rearrangement of the final movement (S.565a).
The work's structure is highly influential on Liszt's Sonata in B Minor. [3] [4]
There are many recordings on modern piano of the Wanderer Fantasy. Below are listed some that are on fortepiano.
The Trout Quintet (Forellenquintett) is the popular name for the Piano Quintet in A major, D. 667, by Franz Schubert. The piano quintet was composed in 1819, when he was 22 years old; it was not published, however, until 1829, a year after his death.
The Piano Quintet in F minor, Op. 34, by Johannes Brahms was completed during the summer of 1864 and published in 1865. It was dedicated to Her Royal Highness Princess Anna of Hesse. As with most piano quintets composed after Robert Schumann's Piano Quintet (1842), it is written for piano and string quartet.
Ludwig van Beethoven's Piano Sonata No. 29 in B♭ major, Op. 106 is a piano sonata that is widely viewed as one of the most important works of the composer's third period and among the greatest piano sonatas of all time. Completed in 1818, it is often considered to be Beethoven's most technically challenging piano composition and one of the most demanding solo works in the classical piano repertoire. The first documented public performance was in 1836 by Franz Liszt in the Salle Erard in Paris to an enthusiastic review by Hector Berlioz.
Cyclic form is a technique of musical construction, involving multiple sections or movements, in which a theme, melody, or thematic material occurs in more than one movement as a unifying device. Sometimes a theme may occur at the beginning and end ; other times a theme occurs in a different guise in every part.
Franz Schubert's final chamber work, the String Quintet in C major is sometimes called the "Cello Quintet" because it is scored for a standard string quartet plus an extra cello instead of the extra viola which is more usual in conventional string quintets. It was composed in 1828 and completed just two months before the composer's death. The first public performance of the piece did not occur until 1850, and publication occurred three years later in 1853. Schubert's only full-fledged string quintet, it has been praised as "sublime" or "extraordinary" and as possessing "bottomless pathos," and is generally regarded as Schubert's finest chamber work as well as one of the greatest compositions in all chamber music.
Franz Liszt wrote drafts for his Concerto for Piano and Orchestra No. 2 in A major, S.125, during his virtuoso period, in 1839 to 1840. He then put away the manuscript for a decade. When he returned to the concerto, he revised and scrutinized it repeatedly. The fourth and final period of revision ended in 1861. Liszt dedicated the work to his student Hans von Bronsart, who gave the first performance, with Liszt conducting, in Weimar on January 7, 1857.
The Sonata for Arpeggione and Piano in A minor, D. 821, was written by Franz Schubert in Vienna in November 1824. The sonata is the only substantial composition extant today for the arpeggione. The sonata was composed in November 1824, about a month after Schubert had returned to Vienna from his second stay in Zseliz. It has been adapted to other string instruments, especially the cello.
The Sonata on the 94th Psalm in C minor is a sonata for solo organ by Julius Reubke, based on the text of Psalm 94. It is considered one of the pinnacles of the Romantic repertoire.
Franz Schubert's last three piano sonatas, D 958, 959 and 960, are his last major compositions for solo piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.
The Piano Sonata No. 1 in C major, Op. 1, of Johannes Brahms was written in Hamburg in 1853, and published later that year. Despite being his first published work, he had actually composed his Piano Sonata No. 2 first, but chose this work to be his first published opus because he felt that it was of higher quality. The piece was sent along with his second sonata to Breitkopf & Härtel with a letter of recommendation from Robert Schumann. Schumann had already praised Brahms enthusiastically, and the sonata shows signs of an effort to impress in its symphonic grandeur, technical demands, and dramatic character. It was dedicated to Joseph Joachim.
The Fantasia in F minor by Franz Schubert, D.940, for piano four hands, is one of Schubert's most important works for more than one pianist and one of his most important piano works altogether. He composed it in 1828, the last year of his life. A dedication to his former pupil Caroline Esterházy can only be found in the posthumous first edition, not in Schubert's autograph.
The Piano Trio No. 1 in B major, Op. 8, by Johannes Brahms was completed in January 1854, when the composer was only twenty years old, published in November 1854 and premiered on 13 October 1855 in Danzig. It has often been mistakenly claimed that the first performance had taken place in the United States. Brahms produced a revised version of the work in summer 1889 that shows significant alterations so that it may even be regarded as a distinct (fourth) piano trio. This "New Edition", as he called it, was premiered on 10 January 1890 in Budapest and published in February 1891.
Conrad Graf was an Austrian-German piano maker. His pianos were used by Beethoven, Chopin, and Robert and Clara Schumann, among others.
The Klavierübung, by the Italian pianist-composer Ferruccio Busoni, is a compilation of piano exercises and practice pieces, comprising transcriptions of works by other composers and original compositions of his own.
Sonatas, duos and fantasies by Franz Schubert include all works for solo piano by Franz Schubert, except separate dances. They also include a number of works for two players: piano four hands, or piano and a string instrument.
Hooked on Classics, produced by Jeff Jarratt and Don Reedman, is a multi-million selling album recorded by Louis Clark and the Royal Philharmonic Orchestra, published in 1981 by K-tel and distributed by RCA Records, part of the Hooked on Classics series.
From March 1816 to August 1817, Franz Schubert composed four violin sonatas. All four were published after the composer's death: the first three, D 384, 385 and 408, as Sonatinas in 1836, and the last one, D 574, as Duo in 1851. Schubert composed two more pieces for violin and piano, in October 1826 and December 1827 respectively: a Rondo, D 895, which was published during the composer's lifetime (Op. 70), and a Fantasy, D 934, which was premiered in January 1828, less than a year before the composer's death.
Franz Schubert composed his Fantasy in C major for violin and piano, Op. posth. 159, D 934, in December 1827. It was the last of his compositions for violin and piano, and was premiered in January 1828 by the violinist Josef Slavik and the pianist Carl Maria von Bocklet at the Landhaussaal in Vienna.
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