Schubert's EPIC "Wanderer" Fantasy in C major, Op. 15 - Analysis
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- Опубликовано: 4 июл 2024
- This is a real showstopper of a piano piece, composed by a young and ambitious Schubert in 1822. The seed of much of the work's material comes from the song "The Wanderer" he had written earlier; he used a melody for variations in the slow second movement and kept the same rhythm for the other fast movements too! Maybe there it feels more like running than wandering, but it's really a fantastic work full of energy and sparkling melodies. With pianist Henrik Kilhamn.
0:00 About
1:33 Mvt I: Allegro con fuoco
13:42 Mvt II: Adagio
22:53 Mvt III: Presto (scherzo)
31:33 Mvt IV: Allegro (fugue)
▶ Performance video: • Schubert "Wanderer" Fa...
⭐️ MARKED SCORE - Henrik Kilhamn Edition (as shown in video)
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Music: Franz Schubert: "Wanderer" Fantasy in C major, Op. 15, D. 760 (1822)
📄 Score: Breitkopf & Härtel, 1888, editor Julius Epstein, imslp.org
Emoji artwork provided by JoyPixels, joypixels.com
🎓 Sources:
- Anecdote of Schubert playing: Duncan Edmondstoune: “Schubert” (1905), p.165, archive.org/details/schubert0...
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Видеоклипы
If you're wondering (!) about the marks and fingerings in the score as shown in the video, I have made them available in a "Henrik Kilhamn Edition" here: sonatasecrets.gumroad.com/l/hke-schubertwandererfantasy
(N.B. not to be confused with the Simple Solutions Edition for the Intermediate Pianist - this is only for advanced pianists ready to tackle the original anyway)
Great stuff. Please do some orchestral analysis, some Wagner or Mahler.
You just gotta love this man's analysis ❤
Every video you make is so good that gets me to study piano more, thanks👏👏
I like how you said that some parts were really tough but you nailed them flawlessly lol
Being only a listener rather than a player, you have very much increased my understanding and appreciation for this work I hope to hear more from you.
Great job with this juggernaut. Schubert is the major minor shift GOAT no doubt
Thank you for this. Its a piece I first heard in 1974 in a car aged 17 on BBC Radio3 Record Review. It was my opening in to Schubert - the pianist was Brendel and through that record Schubert and his piano works have been a part of my life to keep returning to and try and play what I could as well as listen. So your taking the piece to pieces was like a walk down memory lane, but in this instance making sense of what I was familiar with. Many thanks.
Your expression of passion for the work is inspiring and your playing is magnificent!
I didn't know this fantasy of Schubert's. Really beautiful music
Thanks a lot for your analysis and youre inspiration to search for feasable solutions to make the peace more playable
Thanks, appreciate it! :)
If this video does not deserve a like, I would not know which one does. Thank you for posting this great work on a true beast of a piece - I love the struggle and joy of playing it myself and you really did it justice with this condensed, yet precise analysis and playing! Hats off to you!
OMG i had been waiting for this piece since forever (without realizing)
I really enjoyed your analysis and it's a good resource for learning music theory. Thank you!
Very great! Many thanks! This is not easy!!
Epic analysis to this masterpiece!
Thank you for the analysis!
Hey Henrik, your analyses are really well done! Thanks for all the hard work and effort you put forth to make these. Do you take requests? How about Ravel’s jeux d'eau?
how did Schubert write something like this as a relatively young person? unbelievable
Congratulations for all your work! Great channel, and I pretend to watch all the videos.
Beautiful analysis, as usual.
Fantastic!!!!
As you upload less frequently, each video feels even more like a treat. Great stuff!
And about the difficulty: I am quite sure I read somewhere that even Liszt himself rewrote some sections, particularly in the final movement. Because Schubert was not an amazing pianist himself (as you pointed out), he may not have realized that certain parts are more or less unplayable.
That is correct, there is a Liszt version with quite extensive rewrites, but some of them feel quite a bit different than Schubert's musical ideas... But it's saying something that even Liszt didn't want to play them as written!
@@SonataSecrets Thanks for replying, will check it out if I can
Brilliant choice. All your music choices are pieces dear to my heart although I don't necessarily understand all the harmonic discussion i like listening to it. What i get most us slowing down the vids and watching the fingering 😂. The crossing hands at the end is a great help. A lot of choosing fingering is a real chore at times as I'm self taught. And its slower progress than having a teacher who knows these pieces and can give quick advice on fingering
I know everyone's hand us different and with experience fingering sometimes comes naturally but I still like watching vids of pieces i want to play and the fingering used (although a lot of videos don't show it apart from maybe overhead camera ones.
I'm glad you like to watch :) Finding the right fingering is definitely an important part of piano playing and technique. I've found that the more I've played and practiced, the easier it comes to find and decide on what fingerings suit my hand. It's great that you see what other pianists use, imitation is the basis for learning, but ideally you should also have a teacher check what you're doing a bit.
Quick question: what was the part that Schubert could not actually play on the piano? "Let the Devil himself play this!" Is it 34:30?
I don't know for sure, it seems to emanate from this source, a Schubert biography from 1905: archive.org/details/schubert00duncgoog/page/n190/mode/2up
"There is an amusing incident recorded of Schubert's performance of his Fantasia in C major (op. 15) - a work which every student may know is not to be trifled with. Schubert was playing this composition to an audience of friends, among whom were Kupelwieser, Spaun and Gahy. The first part of the piece had been successfully tackled, and the middle portion expressively played; the player also survived Part iii. Then, with the impetuous finale, came disaster. He played it at full speed, with ever-increasing energy; but - alas - he was riding for a fall. This soon came, for he suddenly stuck fast in the middle of the movement. The story adds that Schubert rose hastily firom his seat, and invoked infernal aid in the following terms, "Let the devil himself play the stuff.""
My guess would be when the subject comes back again in ff (36:05), really incomfortably written to play those intricate 16th notes with fortissimo power...
@@SonataSecrets Thank you. Great playing, Outstanding video.
OMG esto va a ser épico papus
Hi love your context and a wonderful player! I would love to send you one of my pieces to look at if you are up for that?
This piece is hugely influential to Liszt. In fact, Liszt Sonata in B Minor is modeled after it.
the Bbb is a Neapolitan chord, no?
Not quite, D major or Ebb in first inversion would be a neapolitan in Db, Bbb is the root of the augmented sixth chords (as a tritone substitute for V/V), although here without the augmented sixth. But they is closely related to the N6 by a dominant, both types kind of super charged chromatic secondary dominant substitutions, but slightly different flavors.
@@SonataSecrets Right, but the term Neapolitan does not necessitate an inversion, though most people tend to think that it does, which is wrong, in my opinion. In this instance, I think the most appropriate analysis is a Neapolitan chord in the key of Ab, (Bbb)-I may be missing something, but I don't know why you would analyse that chord in the key of Db. I can see that we're in Db, but surely the chord changes its function given what follows, I would think.
Personally, I think jazz musicians have far less insight into harmony than they're given credit for, and their beloved "tritone substitution" seems to tell only a small portion of the story. One can derive many substitutes from the related diminished chord. Tchaikovsky indeed takes the view that the root or "fundamental tone" of an augmented sixth chord is the augmented sixth itself. For instance, the root of an augmented sixth in C major (Ab+6), would be F#-because it comes from an F# diminished seventh with the third lowered chromatically. The French and Italian equivalents are derived from the V7 63/V and secondary vii 6/V respectively. Barry Harris has exhausted the ways of substituting through the diminished seventh. Lowering a note produces a dominant seventh; raising a note, a minor sixth (in jazz terms); two consecutive notes, a major sixth chord (in jazz terms); two non-consecutive notes, a dominant seventh with a diminished fifth. These chords can be substituted for one another quite easily, the "tritone substitution" just being one at of many examples. Schoenberg goes to town with this in Verklärte Nacht, where in the famous passage of chromatic chords, where the so-called "inverted ninth" is used, one can easily see that every chord above the bass note can be related to a diminished seventh chord a half step down from the previous, just by moving one note chromatically. There are many examples of this in Chopin as well, and many other composers, of course, but those are two composers that Barry Harris mentions frequently.
Here's a relevant passage on Neapolitan harmonies, from Job Ijzerman, "Harmony, Counterpoint, and Partimento"
"This mixture of the minor and the Phrygian modes originates from the early 1700s. Commonly the origin of the Phrygian second scale tone is ascribed to the so-called Neapolitan School, a group of Neapolitan (opera) composers flourishing in the early eighteenth century, among them Alessandro Scarlatti (1660-1725) and Giovanni Pergolesi (1710-1736). For this reason the lowered second of the minor scale is called Neapolitan. Like the raised sixth and seventh degrees of the minor scale, the Neapolitan second is not considered as a chromatic tone. Often “Neapolitan” is associated with the 63 chord on ➃, the so-called Neapolitan sixth chord. Although there are good reasons for this chordal perspective, its application is broader, as we will see later."
Well it seems you know the subject better than me!
You're right of course retroactively it's a Neapolitan in Ab. In the video I'm after the effect of the chromatic move which is not heard that way when we're coming from Db (only so by way of modulating to Ab). But it would have been easier to just say that though haha.
Regarding first inversion, I agree it makes sense to use the name for the chord or the phrygian second root, it's just the classical stylistic baggage of getting a clear Neapolitan flavor as a sub for iv and only later on used in a more liberal way. For example in the Rachmaninoff C# minor prelude there's D7/A in the first phrase, and did the same mistake of missing the neapolitan concept in my video on that too because of the unusual presentation. But I maintain that it's still a tritone substitute (or "move") and that that has some explanatory value.
I find the Liszt transcription is more pianistic and in many ways slightly easier than the original.