piano fantasia wiki

10 10 *#231777 - 2.62MB, 2 pp.

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4 *#231776 - 2.22MB, 17 pp. Franz Schubert composed his Fantasy (German: Fantasie; French: Fantaisie) in C major for violin and piano, Op. This work is one of those pieces; it was published by Anton Diabelli in March 1829. 6 2 10 II. 2 Allegro presto. -  It was the last of his compositions for violin and piano, and was premiered in January 1828 by the violinist Josef Slavik and the pianist Carl Maria von Bocklet at the Landhaussaal in Vienna. 0.0/10 -  4 4 (-) - !N/!N/!N - 315×⇩ - Amdevereux, Cellos

Ralph Theo Misch (2011/1/23), Colour Cover 4

0.0/10 10 (-) - V/V/V - 3443×⇩ - Peter, Complete Score *#315887 - 0.42MB, 32 pp.

8 The English composers William Byrd and John Jenkins both wrote and developed fantasias for viol consort, while Henry Purcell's fantasias are the last 17th century examples of the genre.

(-) - V/V/V - 1527×⇩ - Rocco, PDF scanned by Konrad Stein 6 Notes scan: score scanned at 600dpi filter: score filtered with 2-point algorithm explained in High Quality Scanning.I provide the original scanned version and the filtered, because the filter does some changes (smoothening, sharpening borders) and some portions of the scan get lost sometimes (when they are too small e.g.) [1], Franz Schubert began writing the Fantasia in January 1828 in Vienna. Schubert's friend Eduard von Bauernfeld recorded in his diary on May 9 that a memorable duet was played, by Schubert and Franz Lachner. 2 -  2 4 -  10 103), 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. post. 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. [8], 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. Because of this, the fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form.


[9] 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.[10]. 0.0/10


6 2

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.

[1][2], The difficult[3] work was "calculated to display Slavík's virtuoso [violin] technique" and is demanding for both instruments. 10

posth. Allegro presto.

*#345347 - 0.55MB, 15 pp. *#40176 - 6.69MB, 9 pp.


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