Schubert Wanderer Fantasy in C major, D.760
Recorded June 7, 2024
0:00 Allegro con fuoco ma non troppo
6:16 Adagio
13:45 Presto
19:04 Allegro
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Like the Trout Quintet, the Death and the Maiden Quartet and the Fantasia for Violin and pIano, the Wanderer Fantasy uses one of Schubert's songs for its thematic material. However, unlike these other works, in which a whole lied section is used as a variation theme in one part or movement, the Wanderer Fantasy takes only one phrase from the song. Schubert uses this single phrase thematically throughout the entire work, and it is therefore no exaggeration to call the work the first cyclic one-movement sonata. Its form stands exactly halfway between the Mozart fantasias and the Beethoven sonatas in that the absence of development sections proper is compensated for by the thematic unity throughout the four movements, which are, moreover played without a break. Remarkable, too, is the pianistic innovation of using tremolos at the end of the slow movement in order to induce a magical, almost exotic world of sound, unprecedented in its direct emotional impact.

The first movement is virile, but not heavy. As in Beethoven's Waldstein Sonata, which the opening faintly recalls, the second theme is in the mediant (E major). The further evolution of this material is entirely free and contains first a lyrical section in E-flat major, continued in a shimmering A-flat major, and then, finally, a brilliant climax of Handelian majesty.

After this, a long transition prepares for the slow movement, an Adagio in alla-breve time. (Alla-breve here means "in four" instead of "in eight.") A direct quotation from the song Der Wanderer is taken through a series of very free variations, alternating between major nad minor.

From the current editions, it would seem that the scherzo follows abruptly. But Leon Fleisher--following Rudolf Serkin--has corrected a wrong note with the help of Schubert's manuscript (D-natural instead of D-sharp, in the second half of the last measure of the second movement). The result is that the opening of the scherzo turns out to be harmonically prepared, somewhat in the manner of the corresponding place in Beethoven's last violin sonata. The scherzo features the opening theme in the dotted rhythm of the first movement of Beethoven's Seventh Symphony: Schubert apparently tried to imitate Beethoven's idea of a dactylic rhythm continuing through several movements in various transformations. To man listeners one of the themes will be familiar through its similarity to Schubert's famous Impromptu in B-flat major, written much later.

The fugato theme of the finale (almost identical with the opening of the first movement) clears the air and "thunders forth a song of endless humanity and music," as young Schumann phrased it in a letter written in 1828, a few months before Schubert's death.

Konrad Wolff
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Engineer: Federico Furnaletto
Piano Technician: Tomislav Spasojevic
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