ABSTRACT
This chapter explores the generic expectations circa 1840 for a work called fantasy, then shows how Schumann subverts these to suit his own sensibilities precisely as he had already made them known in his reviews. In Bonds's words, the teleology of Schumann's final movement is different from Beethoven's, with a looser presentation of material in the finale. Schumann's intentional misreading of Beethoven's Sonata quasi una Fantasia downplays one of the two hallmarks of the genre from the early nineteenth century on, to wit, virtuosity. Generally, it can be said of the passagework of the Phantasie that it is constructed of two- or four-bar units. By way of conclusion the people might note that Liszt's type of concerto became the model for experiments among the French, in particular for Franck's Symphonic Variations, or Faure's Ballade.
