Wanderer-Fantasie in C Major, Op. 15

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SCHUBERT, F.: Piano Sonata No. 16 / Wanderer-Fantasie (Gothoni) Ondine

Avoid disclosing contact information email addresses, phone numbers, etc. As for the wanderer theme, Lang Lang started normally with 78 at bar 27, however when it came to bar 31 where usually other performers speed up, Lang Lang slowed down to 63 Example 2. By the end of Adagio, starting with bar 54, he slowed down to a 44 where Pollini kept 71 for an eighth note Example 9.

With this tempo and the right hand melody fading away, Lang Lang tried to phrase the left hand where here the left hand was really supposed to be just accompaniment. In learning these great recordings over time we can see how performance traditions changed and how this change affects future musicians. As long as this work is still being performed and appreciated by people, this great fantasy will continue its glory in the world of music. Bibliography Arnold, Denis and Lalage Cochrane.

Oxford Music Online. Brown, Maurice J. Haynes, Bruce. Chissell, Joan. Gramophone, January : Schubert, Franz. Edited for the first time from the autograph; with fingering added by Paul Badura-Skoda. Fantasy in C, op. Alfred Brendel, piano. Recorded The Piano Masterworks. Recorded on May Elly Ney, piano. Recorded Nov. Vladimir Sofronitsky, piano. Live recording. Recorded December 25, Walter Rehberg, piano.


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Maurice J. Franz Schubert, Fantasy in C, op. Close collections of free-scores-admin. Collections of free-scores-admin 5 Hungarian folk songs. Blank sheet music. Brahms' Orchestra Works. Brahms' Piano Works. Buxtehude's Organ Works. Franz Liszt. Handel's Organ Concertos.

Evgeny Kissin - Schubert - Wander Fantasy in C major, D 760

Handel: Aylesford Pieces. Haydn Piano sonatas. Haydn's String Quartets Opus Johann Kuhnau: Uns ist ein Kind geboren. Messiah, HWV Pachelbel's Organ Works. Romanian Folk Dances. Schubert's Piano Works. Schumann's Piano Works. Sor - Six divertissements pour la guitare Opus 1. Sor - Six divertissements pour la guitare Opus 2.

Tchaikovsky's Orchestra Works - I. The Gimo Music Collection. The Lancer's Quadrilles. Fischer spread out every chord as an accent on sforzando from bar to in Allegro Example 5.


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Fischer also did not follow every dynamic mark on the score. Instead of starting with fortissimo in Presto, Fischer played a piano. Early recordings from live performances also indicated that earlier approaches to this piece sometimes could be not always following the score. Elly Ney did a truly amazing job when she performed this piece in her eighties. In Allegro she played many notes in staccatos, not as the score indicated but created a light joyful feeling.

For example, from bar to , she played the right hand melody under the slur in staccatos Example 7. Vladimir Sofronitsky also made a recording from his live performance in Started from bar in Scherzo, Sofronitsky changed the notes and dynamic by resting at beat three in both measures and and stopped after measure Then he started measure from pianissimo and made incalzando to the forzando in measure Example 8.

This might have been a cover-up for a mistake during a concert but it added color to the performance. Every performance is different not merely based on various interpretations. In general, the earlier approach to Wanderer Fantasy was less rigid in getting everything on the score technically correct and accurate.

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However people would get to hear more different personal interpretation because these performances were so unpredictable. More recent, musicians tried to combine both accuracy and freedom in their performances. Lang Lang made an experiment with the Wanderer Fantasy in his live performance in As for the wanderer theme, Lang Lang started normally with 78 at bar 27, however when it came to bar 31 where usually other performers speed up, Lang Lang slowed down to 63 Example 2.

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Franz Liszt, Franz Schubert

By the end of Adagio, starting with bar 54, he slowed down to a 44 where Pollini kept 71 for an eighth note Example 9. With this tempo and the right hand melody fading away, Lang Lang tried to phrase the left hand where here the left hand was really supposed to be just accompaniment. In learning these great recordings over time we can see how performance traditions changed and how this change affects future musicians.

As long as this work is still being performed and appreciated by people, this great fantasy will continue its glory in the world of music. Bibliography Arnold, Denis and Lalage Cochrane. Oxford Music Online.

'Wanderer' Fantasie in C major, Op. 15

Brown, Maurice J. Haynes, Bruce. Chissell, Joan. Gramophone, January : Schubert, Franz. Edited for the first time from the autograph; with fingering added by Paul Badura-Skoda.

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Fantasy in C, op. Alfred Brendel, piano. Recorded November