Schubert Fantasie in C major, D 934

00:00 I. Andante molto
03:19 II. Allegretto
08:33 III. Andantino
17:49 IV. Allegro vivace

Playing time 24' 59"

Franz Schubert: About "Fantasie in C major, D.934"
■ Basic Information

• Work Title: Fantasie in C major, D.934

• Composer: Franz Schubert

• Year of Composition: December 1827

• Performance Duration: Approx. 25–30 minutes

• Instrumentation: Violin and piano

• Performers (Recording): Joseph Szigeti (violin), Joseph Levine (piano)

• Publication Information: Columbia Records, 1950, ML 4338

• Copyright: Public Domain (Not public domain in the United States)

## ■ Background and History of Composition

"Fantasie D.934" is one of the masterpieces of Schubert's later years, and among his chamber music works, it possesses particularly poetic and experimental aspects. 1827 was the year before Schubert's death, a period when his creative work was moving toward more inward and free expression.

This work was written for the renowned violinist Josef Slavík. Slavík was also known as the "Paganini of Bohemia" due to his performance technique, and Schubert wrote this fantasy specifically for him.

At the time, traditional sonata forms and variation forms were often used for works for piano and violin, but in this work, Schubert pursued a freer form.

■ Structure and Content of the Piece

Although the fantasy is a continuous single-movement work consisting of four parts, it has a clear internal structure and incorporates elements such as a sonata, variations, a scherzo, and a finale.

### Part 1: Andante molto

* An introduction that begins quietly. A fantastical and poetic atmosphere.

* The piano plays somewhat dreamy arpeggios, and the violin layers a lyrical melody over them.

* This introduction also serves as foreshadowing that creates thematic unity for the entire work.

### Part 2: **Allegretto**

* A light, dance-like section. It is nimble yet virtuosic.

* The piano and violin engage as equals, unfolding a playful exchange.

* It also features a wide emotional range, such as the appearance of a dramatic middle section that shifts into a minor key.

### Part 3: **Andantino (Theme and Variations)**

* A set of variations based on a theme from a song other than Schubert's own "Gretchen am Spinnrade",

**"Sei mir gegrüßt" (My lover is the most beautiful in the world), D. 741**.

* This variation section can be considered the core of the work, and through this **quotation from a song**, Schubert's Lieder-like aspect is strongly reflected.

* Multiple virtuosic and emotional variations unfold, with the violin's transcendental technique and the piano's rich accompaniment intersecting.

### Part 4: **Allegro molto moderato (Recapitulation and Coda)**

* The theme from the first part is recapitulated, forming a circular structure for the entire fantasy.

* It rushes into an energetic coda, leading to an enthusiastic conclusion.

■ Musical Characteristics and Significance

• Equality between violin and piano: While in many "violin sonatas" the piano often serves merely as an accompaniment, in this Fantasie, both instruments create music as equals.

• Connection to Lieder: Schubert is highly renowned as a composer of Lieder, and in this work, he quotes his own songs, achieving an expression that transcends the boundaries between instrumental and vocal music.

• Freedom and Unity of Composition: Although it is a Fantasie with a free form, the return and variation of themes are skillfully organized throughout, making it structurally sophisticated.

■ Regarding Performance and Recording

Joseph Szigeti (violin) and Joseph Levine (piano)

• Recording year: 1950

• Release: Columbia ML 4338

• This recording is highly regarded as a poetic and intellectual performance by the early 20th-century virtuoso Szigeti.

• It is of high quality for the recording technology of the time, and is characterized by an interpretation that delves deeply into the inner structure of the work.

## ■ General Review

Schubert's "Fantasie in C major, D. 934" is an introspective and passionate work born at the end of his life as a composer. Combining formal freedom, elements of Lieder, and technical brilliance, this work, which can be called a fusion of Lieder and chamber music, is truly the crystallization of Schubert's musical spirit.

For performers, this work is a difficult piece that demands not only technical skill but also poetic expressive power, and it continues to hold a particularly special status in the repertoire for violin and piano to this day.

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