Classical Music | Piano Music

Recorded on 02/11/2015, uploaded on 06/30/2015

Musician's or Publisher's Notes

Schubert's Fantasy in C major, better known as the “Wanderer” Fantasy, is one of his most well-known and technically challenging compositions for piano. It was composed in November 1822, the same year he began work on the “Unfinished” Symphony. Cast in a four movement pattern mimicking the usual arrangement of a sonata, the movement are played without break between them. The motivic germ of the piece, from which the themes of each movement are derived, is taken from Schubert's own 1816 Lied Der Wanderer. Hence, the Fantasy's nickname.

The opening Allegro is almost obsessively concerned with motif's dactylic rhythm, a favorite of Schubert's. Schubert traverses a wide range of keys in his treatment of the motif's rhythm as it is continuously set against sweeping scales and sixteenth-note figurations. Only a melodic interlude towards the end of the movement manages to draw attention partially away from the obsessive rhythm.

Following the fanfare-like opening movement, the Adagio is a set of variations on an almost direct quote of Der Wanderer. Beginning the foreign key of C-sharp minor, the variations waver between it and its parallel major. The motif is here extensively developed as the variations become more rhythmically active. The bass rumblings of the final variation form the transition into the ensuing Scherzo.

Taking on a frenetic character, the Scherzo borrows much of its material from the first movement. In this regard, it has often been thought analogous to the Scherzo of Beethoven's Piano Sonata No. 29. The coda takes on an improvisatory nature, introducing triplet arpeggios over the Scherzo's dominant rhythmic motif. A sudden stop on a half cadence in C major announces the arrival of the Finale.

The Finale begins as a fugue based around the Fantasy's rhythmic motif. While the fugal texture is more or less maintained throughout, the movement soon, however, dissolves into a virtuoso showpiece. The tonic key of C major is virtually maintained throughout the whole movement and the dactylic motif is also ever to the fore. A gradual crescendo of broken chords and thunderous descending arpeggios bring the “Wanderer” Fantasy to a dramatic close.      Joseph DuBose

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Fantasie in C Major, D. 760, “Wanderer Fantasy”      Franz Schubert

Composed in November 1822, Schubert’s Fantasie in C Major is perhaps the most overtly virtuosic he composed. The Fantasie takes its name from his song “Der Wanderer” of 1816, which tells of a protagonist who longs for his homeland. Georg Philipp Schmidt’s text features popular Romantic themes of discontent, estrangement, and endless wandering. The song’s brooding theme forms the basis of a set of variations in the Fantasie’s dark Adagio movement. Highly innovative in form, the entire work is based on a simple motive in dactylic rhythm (long-short-short) upon the same note.

The symphonic C-major chords that open the first movement present the long-short-short motive, which is transformed in character and structure as the movement progresses. The slow movement features the theme from the “Wanderer” song, which begins with the same dactylic rhythm on one note. The set of haunting variations that follow eventually leads to a chilling coda where the theme is accompanied by shivering tremolandi. As the tremolandi dissolve, a boisterous dance in triple meter ushers in the Presto, which acts as a scherzo movement. The finale is a fugato based on the motive, which gradually gathers momentum to an inexorable and impossibly virtuosic climax.                    Notes by David Fung

Courtesy of International Music Foundation.