Fantasie in C (Schumann)
The Fantasy in C major, Op 17 is a 1839 published piano composition by Robert Schumann, which is one of his most important works for the instrument. The 1836 and 1838 commenced completed composition counts in addition to the Kreisleriana and the childhood scenes of the most famous pieces of the composer and is part of the basic components of romantic piano literature. He dedicated it to Franz Liszt, the admired virtuoso who years later thanked by him bequeathed to his great B minor Sonata, which also belongs to the peaks of the era.
The visionary impetus to this piano fantasy and Schumann rare, over the whole composition by substantial force reminiscent of the architectural mastery of Ludwig van Beethoven, quoted from the song cycle To the Distant Beloved Schumann in the first sentence several times while out of the he Allegretto in the third set a theme of the 7th Symphony picks up. It seems as if the model in the sense of Florestan's enthusiasm will is trying to match.
Content
Especially in the first, forward-moving and moving rate ( Absolutely fantastic and passionately carry forward ), the compositional climax of the work, the wild spirit of Florestan is ubiquitous, whereas in smooth flowing, pianistic simpler third set to the two-time leading into a chorale theme increase initially Eusebius present appears to be.
The dominant character of the set in octaves, descending first theme is contrasted with the second theme in D minor at measure 20, which also unfolds through the continuous, nervousness and wild excitement mediating semiquaver movement. The harmonic basis of the swirling accompaniment figure is complex and can be interpreted as a mixing sound from dominant and subdominant. The main theme combines two quotes to a higher unit: The descending Oktavmotiv is already known from the third movement of the Piano Sonata Op 14 (Concert sans Orchestre ), the quasi Variazioni an Andantino de Clara Wieck, while in bars 15-18 the subject is presented from Beethoven cycle, which goes off again in the coda.
After wild upswings and interludes a central part in Legendenton surprised at measure 129 with a completely own, serious character, which can act as a rest this section.
It thus replaces the actual implementation, even if he is thematically connected with her. This legend is a serious and catchy melody over a descending bass line in C minor, reminiscent of a ballad. It is run in the other, rhythmically and harmonically complex curve over a huge increase to forte fortissimo in measure 204 and increases in intensity the sound world of Tristan advance. After a shortened recapitulation follows from bar 295 a short and quiet coda ( Adagio ), is quoted again in the Beethoven.
The second set ( Mäßig. Quite energetic ) is a festive march in E flat major, which receives its propulsive force by the strong arpeggiated chords of the left and the catchy rhythm. The march character of the whole piece is thereby influenced by the diverse designed syncopated and dotted rhythms, which can be derived from the material of the first bars, the arpeggios of the accompaniment figure of the first bars, the dotted rhythms from bar 5 and the syncopations of clocks 9 ff
The period beginning with cycle 22 section reminiscent of a jig and lets in bars 59-74 away to the virtuosic finale of the B flat major Partita ( BWV 825 ) by Johann Sebastian Bach think. The exuberant, high-energy development from bar 114 by a calmer episode ( little slower) interrupted in A Flat Major, to return it from clock 232 comes to a wild coda of because of their intricate, counter jumps in the hands of the major technical challenges work belongs.
The final (slow worn. Consistently keep quiet), a lyrical intimate sound structure, is a quiet and solemn counterpoint to recent events with the slow flowing triplet and his glorified mood. From bar 30 passes Schumann in the terzverwandte Key A flat major and executes in 34 clock one new subject with which he quotes again Beethoven. Here he attacks, remodeled harmonically and melodically, carried by clarinet, oboe and horn upper voice from the middle part of the Allegretto of the Symphony No. 7 out and feeds them twice ( in bars 60-70 and 111-121 ) to grandiose increases forte fortissimo. With the second, reminiscent of a funeral march movement of Symphony Schumann had also dealt in connection with his unfinished Beethoven Variations to the year 1835.
Background
The literary savvy Schumann put a pantheistic inspired verse Friedrich Schlegel as a motto for his composition:
1830, the Symphonie Fantastique by Hector Berlioz was premiered a musical work program, the Schumann -reviewed in detail later. The contemporary line with the development, he sought in an individual way literature and music to bring together, as reflected especially in his piano music. He was genuinely program musical ideas critical of and wanted with the strikingly original titles of his piano music - think of the children Scenes - clarify the underlying poetic idea, so that they can be understood rather as clues to detect the content of the work.
The really poetic his music stands between Beethoven, who wanted proof in tones, and the program music of Liszt and Berlioz.
His early piano works are of extraordinary originality; next to Chopin and Franz Liszt, he belongs to the so-called triumvirate of romantic piano music. As a poet of the piano his melodies are easy and simple beauty, sometimes delicate and veiled, the piano, however, often crossed by accompaniment and melody are interwoven. It enriches a special feeling for dotted and complicated rhythm and polyphony his works and the ever-present contrast between Florestan and Eusebius determines the poetic character.
Schumann himself valued his piano fantasy, which was present as a sketch in 1836, as something special and expressed his bride Clara Wieck against, the first sentence, " a deep lament for you," was the most passionate, " I ever made " have. The following sentences are weaker, but would not be " ashamed almost. "
The so indicated autobiographical background of the passionate, exciting and turbulent piece is highlighted by many biographers. Especially in 1836 by lived Schumann mental anguish, which are also reflected in his letters to Clara: Just now he had been his love for her, as he had to be separated again from her, as her stern father, a piano teacher Friedrich Wieck was between kicked and the wanted to prevent connection. So he sent the gifted pianist, his Wunderkind, on several tours, and went so far as to dictate her a letter, which they sent back to their dedicated Sonata No. 1 in F sharp minor, Op 11, and the letters to Schumann. The fear of losing his beloved, led to depression and nervous disorders.
Originally he wanted to publish the work under the title Grand Sonata by Florestan and Eusebius, the three sets should be overwritten with ruins, trophies and palm trees, a further title was obols to Beethoven Monument, which he ruled on an appeal by Franz Liszt, the establishment a Beethoven monument in Bonn to promote. With the proceeds for the three-movement Sonata quasi una fantasia - based on Beethoven's " Moonlight Sonata " and Op 27 No 1 - he wanted to make his payment.
Interpretations
The work is an integral part of the concert literature and has been recorded by numerous pianists such as Wilhelm Kempff, Vladimir Horowitz, Clifford Curzon, Sviatoslav Richter, Martha Argerich, Maurizio Pollini and Lars Vogt.