To the Distant Beloved - Schumann: Fantasie in C Major, Op. 17

Amidst the colorful dreams of this world
Piercing through every sound
A single quiet tone resonates
For those who listen in secret

The motto of the "Fantasie" is taken from a poem by Friedrich von Schlegel, a poet often considered the founder of German Romanticism, and is placed at the very beginning.

It was the end of 1835.
A plan was launched to erect a monument in Bonn, the birthplace of Beethoven, for the 10th anniversary of his death in 1837. The initiators included F. Liszt, as well as August von Schlegel, the older brother of the late Friedrich, a literary critic and leader of the Romantic art movement.
The young Schumann also expressed his enthusiastic support in his own music journal, the "Neue Zeitschrift für Musik," and attempted to contribute to the fundraising by writing a new sonata dedicated to his beloved Clara.
Although the project was eventually postponed, the piece was completed two years later as a three-movement "Fantasie" and dedicated to Liszt.

※ We hope you will listen to the "Fantasie" performed by Wataru Anzai while reading.

“Grand Sonata for Florestan and Eusebius, Obolen dedicated to the Beethoven Monument”

This was the title originally intended for the work.
“Obolen” is a Greek word meaning “small coin,” carrying the nuance of a modest donation.
“Florestan” and “Eusebius” are pen names representing the two sides of Schumann’s own personality; he frequently used them in his critical writings and musical compositions, with Florestan representing his bright, extroverted, and active side, and Eusebius his gentle, introverted, and romantic side.

Furthermore, for each movement:
1st Movement: “Ruins,” “Castle”
2nd Movement: “Trophies,” “Triumphal Arch”
3rd Movement: “Crown of Stars,” “Glory”
These subtitles were also considered, but due to disagreements with the publisher, they were all ultimately removed, including the long title, leaving only the simple “Fantasie.”
The performance instructions for each movement were intentionally written in German. While Italian terminology was the standard at the time, Schumann advocated for the use of German as a more natural style for the German Romantic movement.

── The “Fantasie” is the Great Charter of Romantic music ──.

So highly praised is this work that in it, Schumann pioneered a new frontier that no one had reached before. It features a unique sense of fantasy and improvisation, as well as an ambiguity of tonality that would influence later composers. Mysterious instructions that appear in the middle of the piece, such as “in the tone of a legend,” further accentuate its fantastical nature.
Despite being a free form not bound by classical styles, the work maintains a sense of overall unity through the close connection of the themes in each movement.

“To be played completely fantastically and passionately”
This is the instruction that begins the first movement.

“I have finished the Fantasie. I believe the first movement is the most passionate piece I have ever written.”

As written in his letter to Clara, the theme is sung loudly in octaves by the right hand, supported by majestic arpeggios in the left hand.

Due to the fierce opposition of Mr. Wieck, Schumann’s piano teacher and Clara’s father, they were not allowed to meet or even correspond at the time. This was the expression of his deep love and sorrow for Clara. In the depths of despair, wondering if he had to cut off his feelings, composition was the only means of expression through which he could convey his heart to his beloved.

“You can only understand the ‘Fantasie’ by recalling the unhappy summer of 1836. At that time, I had even given up on you.”

As if to overlap with those feelings, the longing-filled melody from the sixth song of Beethoven’s song cycle “An die ferne Geliebte” (To the Distant Beloved) is effectively quoted, and the first movement concludes quietly.

The second movement begins with a majestic, celebratory march-like theme, which eventually becomes dominated by the light, dotted rhythms that are a distinctive feature of Schumann’s style.
The atmosphere softens, and the middle section, with its strange sensation, feels like a witty conversation among the members of the Davidsbund (Schumann’s imaginary musical circle, modeled after real people, including Florestan and Eusebius).
From the recapitulation of the main theme, the music gradually builds, increasing in power and momentum, and reaches an overwhelming climax through virtuosic leaps.
The instruction for this movement, “energetically, while maintaining harmony,” can be taken as a kind warning from Schumann regarding the finale, which could easily fall apart if the momentum becomes too great.

The third movement begins with a beautiful, slow introduction of arpeggios in both hands, and a theme related to the first movement is played quietly, painting a dreamlike, poetic world of fantasy, like waves receding and returning.
“To proceed slowly and very quietly”
The emotions, filled with distant longing and certain love, gradually and inevitably rise, and eventually, with a gentle peace, the piece quietly comes to an end. Like a morning star that glimmers and fades away into nothingness...

In fact, in the first draft, the theme from “An die ferne Geliebte,” which was used in the first movement, appeared here again. A nostalgic melody that had been forgotten was suddenly revived without any introduction, and the piece ended just like that.

This staging would likely have brought a dramatic, heart-piercing effect, but I would like to believe that Schumann’s calm judgment in ultimately deciding to cut this sentiment was correct.
For the once-distant beloved had become his dearest partner for life, and was no longer a distant existence.

From the booklet "Love Stories Behind Famous Masterpieces"