Schubert’s Fantasie in C Major is a piece that contains fine examples for his prevailing charm. Although the date of composition for this work is not cemented, it is believed to have been written in 1818. Beginning with Moderato con espressione, this Fantasie opens with a gentle theme. Schubert moves to an Alla polacca section that expands throughout the middle of the piece. This polonaise-like development makes use of the lyrical opening theme occasionally, but mainly builds excitement by modulations and a brisk tempo. The Schubertian theme returns to its normal fashion at the end of the fantasie.
Fantasie in C Minor requires a great amount of expression. The octaves of the theme necessitates long phrasing with much emotional intensity. Because of the amount of character changes in this piece, it proves to be a challenge in both virtuosity and expression. The Polish influence of the Alla polacca when the Moderato con espressione returns presents an opportunity for blending of styles. Understanding how to express the tenderness of the theme without concern of the moving notes of the left hand can be a trying task. To gain this expression, hand independence is important so the arpeggios do not cause the theme to be interrupted. Beyond this, the moving notes must support the long notes of the melody.
Lili Kraus and Vestard Shimkus perform the Grazer Fantasie in Major with an insightful passion. The timing of their performances are tender and heartfelt. I prefer Kraus’s Alla polacca interpretation, but think both performers show great musicality in the dance-like qualities Schubert composes.
Vestard Shimkus
Lili Kraus
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