Schumann: Fantasie in C, Op.17 (Andsnes)

00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen
12:21 – Massig. Durchaus energisch
19:10 – Langsam getragen. Durchweg leise zu halten

An almost cathartically intense performance of Schumann’s most important large-scale piano work, and one of the most important in the entire period.

The Op.17 Fantasy is remarkable for many reasons – the bedazzling variety of its textures, its addictive quirkiness (Schumann probably had the most acute sense of the fantastic among all the Romantic composers), its expressive power (especially in the uplifting final movement). But one feature not often noticed is the structural complexity of the first movement, which represents Schumann’s most successful engagement with sonata form.

The biggest mystery of the first movement is the notorious Im Legendenton [04:43], which though beautiful seems to constitute a massive disruption of the development section [which begins at 03:09], apparently unconnected as it is to the rest of the movement. In fact, the Im Legendenton is a direct outgrowth the inner-voice theme at [0:59], and a nice example of Schumann’s skill at conjuring new material out of apparently nothing. Nonetheless, the Im Legendenton is not at all a conventional episode in a development section: the development is meant to be unstable, and to be open-ended – it prepares for the arrival of the tonic and the recapitulation. But the Im Legendenton’s structure is too well-formed, its tonality too stable, and its posture too inward-looking to count as a development per se.

There are other structural tricks going on here too: the recapitulation [which begins at 08:03 in the wrong key of C minor] directly invokes the beginning of the development(!) section [at 10:08] to firmly re-establish the tonality of C major, an unusual step that Schumann also takes in his other sonatas. It’s an ingenious and natural gesture, despite its apparent oddness: given how prominent the development is in the movement, it seems fitting that the recapitulation expands to encompass material from the development section. There’s also the fact that the opening theme begins a pedal point on G that is never properly resolved until the perfectly cadence coming nearly 300 bars later – a nice instance of long-term harmonic tension and resolution. (This is a feature of the Op.17 as a whole – a progression with a clear harmonic goal is introduced, only for that goal to be sidestepped and delayed to a much further point.)

It’s also worth noting that a lot of the structural complexity of the first movement is mirrored in the last. Take its opening: we’ve got this tranquil four-bar curtain, and then 6 bars introducing the main melody. And as soon as this melody ends we get some pretty aggressive developmental treatment of the first two bars of the melody [starting at 20:02] which seems out-of-place coming so early in the movement. And then – what appears to have been such a promising theme simply vanishes. It will be some time, in fact before the main thematic material is directly presented.

There’s a lot more at work here: the sly references between each movement, for e.g., or the ingenuity of the first movement’s development section. But it’s basically impossible to get it all down here, so just listening will have to do – though that’s not too bad, surely.

[masantonio]

And to think Liszt (the dedicatee of this piece) matched it with his equally formidable Sonata in B Minor (dedicated to Schumann as a thank-you for the Fantasie). What a cool exchange.

[eliasmendes]

The Fantasie opens with the instruction: "to be performed throughout with imagination and passion"

[nickk]

The last half of the third movement makes me feel like I went to heaven. What an extraordinary piece.

[joselopes]

Schumann was without a doubt one of the most brilliant composers of romantic period. This Fantasie C is of incredible beauty and harmony. From the most intense moments to those musically calmer are of sublime beauty that touches us deeply. The harmonic moments of lyricism are fabulous. Schumann is one of the composers I most appreciate from this period and this Fantasie in C op. 17 is an unrivaled masterpiece. The pianist is amazing for the cadence, sensibility and fabulous technique he uses.
What a magnificent recording whose musical quality is unforgettable.

[juankgonzalez]

Still one of the most creative and fascinating pieces ever composed for piano

[LucasHagemans]

10:46 A quotation from Beethoven's "An die ferne Geliebte" song VI. The text along these notes is "Nimm sie hin denn, diese Lieder" [die ich dir, Geliebte, sang]. It is considered a message to Clara concerning the troubles they had to get married.

[calebhu]

Rivals Liszt's B Minor sonata in sheer scope, power, and vision. And the part starting at 18:25 is just about as difficult as nearly anything ever written...

[fulviopolce]

Un'opera che trascende il Romanticismo e fa di Schumann uno dei più grandi pianisti e intellettuali dell' 800.

[gretareinarsson]

Both technically and interpretatively Schumann is one of the absolutely most difficult composer. Andsnes is one of todays greatest classical pianist and I dare to say one of the absolute best - if not the best - of his generation. It´s a wonderful rendition of this fantastic music.

[Berliozboy]

The king of quirk. The world is lucky to have had him. Pieces you've heard 100s of times can still surprise you suddenly

[Garrett_Rowland]

That suspension at 11:51 is magical; the harmonics really contribute to the feeling. The whole ending 5 measures is incredible.

[parcivalg.]

È una musica di una bellezza inaudita e negli ultimi 10 minuti vola nel cielo infinito fino a raggiungere il sublime. Schumann è uno dei più grandi compositori non solo del romanticismo come spesso è scritto nelle più disparate enciclopedie; Schumann è tra i più grandi compositori della storia della musica. Grazie.

[raduneo]

I think this is the first time I really fell in love with this piece... hauntingly beautiful.

[tselyakov]

wow the pianist is incredible! This behemoth is an absolute monster to play, especially getting to the end of the 2nd movement. fantastic control of color! Inspirational.

[robertwalker]

Andneses succedes in making a coherent whole of this multi faceted, sprawling work. Bravo!

[artiprohustinette-pgwi]

The ending of the first movement is my favourite part and also one of the most beautiful things I‘ve ever heard.

[stephenwilber]

Whatever one says about Schumann, his emotional qualities -his ability to move the listener are the pinnacle of what Romanticism was truly about. Forget the theory, technique and any compositional debates! He makes us FEEL !!

[williambunter]

A beautiful piece. Schumann called Chopin a genius. And he was qualified to do so since he was in that esteemed category himself.

[fidelcastro]

The introduction to this piece and its recurrence throughout the first movement is what Schumann is at one of his highest fantastical calibers. Love this piece!

[noonesbiznass]

One of the greatest pieces and sits as a perfect example of the vast creativity and technical abilities of the human race.