# Fantasia in F minor (Schubert)

The Fantasia in F minor by Franz Schubert, D.940 (Op. posth. 103), for piano four hands (two players at one piano), 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.
Musicologist Christopher Gibbs has described the work as "among not only his greatest but his most original" compositions for piano duet.

## History

Franz Schubert began writing the Fantasia in January 1828 in Vienna. The work was completed in March of that year, and first performed in May. Schubert's friend Eduard von Bauernfeld recorded in his diary on May 9 that a memorable duet was played, by Schubert and Franz Lachner. The work was dedicated to Caroline Esterházy, with whom Schubert was in (unrequited) love.
Schubert died in November 1828. After his death, his friends and family undertook to have a number of his works published. This work is one of those pieces; it was published by Anton Diabelli in March 1829. The original manuscript resides at the Austrian National Library.

## Structure

The Fantasia is divided into four movements, which are interconnected and played without pause. A typical performance lasts about 20 minutes.
* Allegro molto moderato
* Largo
* Scherzo. Allegro vivace
* Finale. Allegro molto moderato
The basic idea of a fantasia with four connected movements also appears in Schubert's Wanderer Fantasy, and represents a stylistic bridge between the traditional sonata form and the essentially free-form tone poem. The basic structure of the two fantasies is essentially the same: allegro, slow movement, scherzo, allegro with fugue. The form of this work, with its relatively tight structure (more so than the fantasias of Beethoven and Mozart), was influential on the work of Franz Liszt, who arranged the Wanderer Fantasy as a piano concerto, among other transcriptions he made of Schubert's music.

### First movement

The piece opens with a lyrical melody with dotted rhythms that is reminiscent of the Hungarian style. The theme is eventually repeated in F major, before briefly repeating in F minor, and transitioning into a somber, almost funereal, second theme. After developing the two themes, he eventually returns to a version of the second theme in F major, which modulates into F♯ minor for the start of the second movement.

### Second movement

The second movement opens with an angry, somewhat turbulent fortissimo theme in F♯ minor. While marked largo, the frequently double-dotted first theme lends a great deal of tension to this movement. Eventually the first theme gives way to a quiet, lyrical second theme. The first theme is reprised, ending on the C♯ major dominant. Schubert had recently heard Paganini's second violin concerto, whose second movement inspired the themes here.

### Third movement

Following the F♯ minor, agitated second movement, the third movement scherzo is a bright, lively movement in the same key, reminiscent of the scherzos of other works Schubert wrote at this time, like those of his piano trios. After a delicate D major trio, the scherzo returns, at first seemingly in F♯ minor. The repeat of the scherzo shifts between A major and F♯ minor, ultimately ending on C♯ octaves that drive into a transition back toward F minor for the finale.

### Finale

The finale begins with a restatement of the first movement's primary theme in both F minor and F major, before transitioning into a fugue based on its second theme. The fugue builds to a climax, ending abruptly on the C major dominant, instead of resolving into either F major or minor. After a bar of silence, the first theme briefly reprises, building rapidly to concluding chords that echo the second theme before subsiding into a quiet end. It has been called "the most remarkable cadence in the whole of Schubert's work", as he manages to condense the dichotomies of the two themes into the final eight bars of the work.

## Transcriptions

In 1961, Russian composer Dimitri Kabalevsky orchestrated the work, producing a virtuoso piece for one piano soloist playing with a symphony orchestra.

## Recordings

The fantasy has been recorded numerous times, including by the following notable performers:
* Alfred Brendel with Évelyne Crochet on Vox Box
* Sviatoslav Richter and Benjamin Britten on Decca Records/BBC Legends
* Evgeny Kissin and James Levine on RCA Victor
* Katia and Marielle Labèque on Kml Recordings
* Bracha Eden and Alexander Tamir on Brilliant Classics
* Justus Frantz and Christoph Eschenbach on EMI
* Radu Lupu and Murray Perahia, and Duo Tal & Groethuysen on Sony Classical
* Evgeni Koroliov and Ljupka Hadzigeorgieva on Tacet
* Aloys and Alfons Kontarsky, Emil and Elena Gilels, Maria João Pires with Ricardo Castro, Lucas and Arthur Jussen, and Maurizio and Daniele Pollini on Deutsche Grammophon
* Jörg Demus and Paul Badura-Skoda several times, including on Westminster, Auvidis Valois, and Audax
* Vitya Vronsky and Victor Babin on US Decca
* Robert and Gaby Casadesus on Columbia Masterworks
* Alexandre Tharaud and Zhu Xiao-Mei on Harmonia Mundi Fr
* The Latsos Piano Duo (Giorgi Latso and Anna Fedorova- Latso) for BHNT
* Emil Gilels and Orchestra Sinfonica Di Milano della RAI, conducted by Franco Caracciolo, for Archipel Records. Live recording of the Schubert-Kabalevsky orchestrated version. ("Emil Gilels in Italy")
* Michael Korstick and NDR Sinfonieorchester, conducted by Alun Francis, for Chandos Records. Studio recording of the Schubert-Kabalevsky orchestrated version
* Sergio Tiempo and Martha Argerich for Avanticlassic
Recordings on 19th century pianos include the followings:
| Pianists | Fortepiano | Label |
| Jos van Immerseel and Claire Chevallier | Conrad Graf (1826) | Alpha |
| Nicolas Callot and Lucas Blondeel | Conrad Graf (1826) | Klara |
| Malcolm Bilson and Robert D. Levin | Conrad Graf (c. 1830) | Archive |
| Andreas Staier & Alexander Melnikov | Christopher Clarke (Maître d'art) [fr] after Graf | Harmonia Mundi |
| Inge Spinette and Jan Michiels | R. J. Regier (1989) after Conrad Graf (1828) | |
| Wyneke Jordans and Leo van Doeselaar | Friedrich Hoxa (c. 1826) | Globe |
| Jan Vermeulen and Veerle Peeters | Johann Nepomuk Tröndlin (1830-1835) | Etcetera |
| Richard Egarr and Alexandra Nepomnyashchaya | Pleyel (1848) | Linn Records |
| Seth Carlin and Maryse Carlin | | Naiad Records |