User:Wilhelm von Hindenburger/Fantasy for Piano Op. 77

The Fantasy for piano, Opus 77, is a composition for solo piano by Ludwig van Beethoven. It was written in 1809. It is approximately 10 minutes long.

History of the work
The work was commissioned in 1807 by composer and publisher Muzio Clementi. Like the earlier Appassionata, this piece is dedicated to Count Franz von Brunswick. It may have been premiered at the December 1808 benefit concert or have been inspired by the improvisation at said concert. Ignaz Moscheles remarked that he "could not hear the fantasia without being reminded of Beethoven improvising." In August 1810, the piece was published by Clementi in London, soon to be followed by Breitkopf & Härtel in November and Artaria in December. According to an Allgemeine musikalische Zeitung bulletin from 1811, this piece is related to the keyboard fantasies of Carl Philipp Emanuel Bach.

Form
The piece is in a free, improvisatory form, but is broadly divided into two major sections. The first section contains various short contrasting themes, linked by scalar figures that modulate. The second section is a set of eight variations on a theme in B major. Although it has been described as being in G minor, such as by the Breitkopf & Härtel edition of the work, it has several modulations.

First part
The first part has various themes linked by free cadenza-like modulating passages.


 * Allegro - Poco adagio

The first five measures, in, present the descending scalar motive and a slow theme with triplet accompaniment, modulating from G minor to F minor.


 * L'istesso tempo

The next section, in, begins in D♭ major, although with the F minor key signature, and ends on an F dominant 7th in first inversion. It is interrupted by a descending scale marked Allegro.


 * Allegro ma non troppo

The dominant 7th from the previous section cadences into B♭ major, with a new, longer theme in, ending quietly on an E♭ major chord, which is suddenly interrupted by an A dominant 7th. This leads into a long cadenza that leads into the next section.


 * Allegro con brio

The next theme is in D minor and in meter. After some time, it reaches a C♯ diminished 7th, followed by an E♭ dominant 7th, cadencing into A♭ major for the next section.


 * Adagio

A new thematic idea is presented in A♭ major, modulates to an F dominant 7th, which then sees the return of the descending scale, marked Ma non troppo presto, and then the Adagio resumes in B♭ minor, which eventually comes to rest on a diminished 7th again.


 * Presto

Suddenly, a loud descending A 7th arpeggio interrupts for another modulation. This leads into the next theme, in B minor.


 * Più presto

The third extended theme is in and in B minor. First there is a section over an F♯ pedal point with a crescendo, before the melody itself is introduced.


 * Adagio

Suddenly, the theme gets interrupted by the adagio idea that was seen earlier, now modulating into B major and leading into the second half of the work.

Second part
The second part consists of a set of variations on an 8-measure theme in B major, marked Allegretto. After the seventh variation, the descending scales seen in the first part return for a cadenza that modulates to C major. The first part of the theme is then stated in C major, but the second half instead becomes a modulation back to B major for the eighth and final variation. After the variation finishes, the descending scales make one final appearance, and a short coda, marked Adagio and based on the theme prepares for a quiet cadence. However, there is a sudden loud pair of one-octave scales in contrary motion, coming to a B. Here, the left hand plays 128th notes and even has a rare example of a 128th rest.

Tonality
The work has been considered to be in G minor, its starting key, but undergoes numerous modulations, especially in the first half of the piece. The second half, but for a section in C major, is in B major. The three extended themes of the first part are in B♭ major, D minor, and B minor.