ABSTRACT
One masterpiece that comes immediately to mind with respect to the mono-thematic fantasia is, of course, Franz Schubert's Wanderer Fantasia from 1822. Also, another, much less well-known piece by Schubert – the Fantasia for piano in C minor, D. 48, written in April–June 1813 – could have been cited by Carl Czerny. Schubert's Fantasia in C minor consists of four clearly distinct parts that are directly connected to one another. In comparison to what happens in the C minor Fantasia, the specific cadential and harmonic outline of the Quartet is highly idiosyncratic. In the remainder of the movement, the motive is repeated dozens of times, usually as an ascending figure, spanning a perfect fourth, and thus functioning as a 'counterpart' to the diatonic lamento-tetrachord that forms the basis of the Fantasia. This chapter concludes that it is interesting to briefly reconstruct the history of the title of Schubert's Fantasia in C minor.
