This great work shows Schumann’s mastery of the piano as a medium of expression. In the foregoing analysis we have pointed out many of the devices which belong to the style of Schumann alone. Advisor: Emanuel Wishnow.
The first iteration of Op. 17 was a one movement piece titled Ruines. Ruines was Schumann’s cathartic expression of the fatigue of separation from his love, Clara Wieck. After several alterations of the piece--in the effort to raise funds for a monument to Beethoven--Schumann expanded Ruines to three movements, mulled over a series of titles, and ultimately settled on the name Fantasie.
Fantasie in C major, Op. 17, encapsulates Schumann’s values. Opus 17 is an artistic statement: through structural form Schumann challenges the rigidity of traditional structures. However, he demonstrates reverence for the progenitating composers through experimentation. Further, Fantasie expresses Schumann’s romance with Clara.SCHUMANN, LISZT AND THE C MAJOR FANTASIE, OP. 17: A DECLINING RELATIONSHIP BY ALAN WALKER 'The first movement (of my Fantasie) is a deep lament about you' (Robert to Clara, I7 March i838)1 'I am really proud of the honour you have done me in dedicating to me so grand a composition' (Liszt to Schumann, 5 June i839)2.Fantasie in C major, Op. 17 Leif Ove Andsnes, piano. Entitled “Ruinen” (Ruins), it was a highly rhapsodic and emotive movement that Robert described to Clara as “the most passionate movement I have ever composed — a deep lament for you.”. Since it was originally conceived as a stand-alone movement, Schumann created a unique structure to lend the appearance of unity to an obviously.
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I want one friend in the Me. I want someone term paper about television will lead me through The mystic labyrinth of the things of sense, And make me feel less strange in the world. When I stand below the stars without Thee I say with Jacob, How dreadful is this Guide me amid the things I know not, the Life without Thee is too solemn, too awful, Too weird a thing.
Much of Schumann's early music is about his affair with Clara and the C major Fantasy is the epitome of this. The rest of Schumann's life is well known. He followed what is a typical path for the manic depressive at the time; reliance on alcohol, times of high mania and low depression until his eventual confinement, when Clara could no longer look after him.
Fantasie in C major, Op 17. composer. Robert Schumann (1810-1856) published in 1839.. in that 1839 also saw the publication of the Fantasie, Op 17,. If we then describe Schumann’s Op 17 as a fantasia quasi una sonata.
Schumann's earliest such effort, the Studies on Caprices of Paganini Op. 3 (1832), is at best little more than a preliminary essay toward the later, altogether more successful Concert Etudes on Caprices of Paganini, Op. 10 (1833).
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This page lists all recordings of Fantasie in C major, Op. 17 by Robert Schumann (1810-56).
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