Classical Music | Piano Music

Recorded on 11/24/2009, uploaded on 11/24/2009

Musician's or Publisher's Notes

Allegro molto moderato -- Largo -- Allegro vivace -- Finale: Tempo I

With the Fantasia in F minor (D.940), composed between January and April 1828, Schubert was, no doubt, looking back to happy days spent at Zseliz for it is dedicated to the Countess Caroline Esterhazy. Legend has it that Schubert was more than a little in love with his one-time pupil and that he once claimed that, in his own mind, all his works were dedicated to her. The Fantasia is in four connected sections: an Allegro molto moderato based on the theme that unifies the whole work; a dramatic Largo; and a spirited Allegro vivace. The Finale in the same tempo as the opening and using the same melody leads into a vigorous fugue. This work, a true masterpiece, was first published as Op.103 in 1829, shortly after Schubert's tragically early death.       Gregory Shifrin

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Fantasia in F minor, D. 940       Franz Schubert

The Fantasia in F minor for piano four-hands is among Schubert's most important compositions, not only for more than one pianist, but also for the piano itself. It was begun in January 1828, the last year of Schubert's life, and finished a few months later in March. Like the earlier Wanderer Fantasy, the Fantasy in F minor follows the same basic sonata-like four movement plan: allegro, slow movement, scherzo and fugal finale.

The work opens with a lyrical melody, with predominant dotted rhythms, over a gently rocking broken chord accompaniment. The tune is heard briefly in the key of F major before a more dramatic, march-like second theme appears. At the close of the opening movement, a lyrical transformation of this second subject appears, bringing about a modulation to F-sharp minor and the following Largo.

The slow movement, inspired by Paganini's Second Violin Concerto, presents a marked theme reminiscent of the first movement's dotted rhythms. The turbulence of the first theme soon gives way to a more lyrical melody that forms the middle section of the movement. The dotted rhythms remain throughout the middle section's melody, though they are set against triplet rhythms in the accompaniment. The opening theme returns to close the movement and ends on the dominant, preparing the way for the ensuing Scherzo.

Lively and energetic, the Scherzo forms a delightful contrast to the dramatic tension of the previous Largo though the key remains unchanged. After the D major Trio, the Scherzo returns in the key of F-sharp minor though it soon begins to waver back and forth with its relative major key. F-sharp minor ultimately has the final say and octave C-sharps (the dominant of F-sharp minor) announce the beginning of the Finale.

The Finale begins with two restatements of the first movement's principal theme—first in F minor and then in F major. Following the final statement in the major key, a fugue based on the first movement's second subject begins. Unlike the Wanderer Fantasy, the fugal texture is here maintained throughout the movement. After an abrupt half cadence in F minor, the first theme once again returns followed by chords which eloquently veil the second theme and close the work.

Following Schubert's death in November 1828, his friends and family went about to have some of his works published. The Fantasia in F minor was one these compositions. It has remained a prominent work for piano four-hands and later inspired the work of Franz Liszt, who transcribed many of Schubert's compositions.     Joseph DuBose

Courtesy of International Music Foundation.