Fantasy in D minor analysis

Topics: Relative key, Key signature, Johann Sebastian Bach Pages: 31 (9303 words) Published: May 30, 2015
MOZART’S UNFINISHED FANTASY
THOUGHTS ABOUT THE FANTASY IN D MINOR, K. 397

BY
EPHRAIM HACKMEY

Submitted to the faculty of the
Jacobs School of Music in partial fulfillment
of the requirements for the degree
Doctor of Music
Indiana University
May 2012

Accepted by the faculty of the Jacobs School of Music,
Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music

___________________________________
Prof. Menahem Pressler, Research Director

__________________________________
Prof. Luba Edlina-Dubinsky

__________________________________
Prof. Emile Naoumoff

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Table of Contents

1. Introduction

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2. The Fantasy and Its Place among Mozart’s Piano Works
3. Structure and Thematic Material

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4. The Current View about the Ending of the Fantasy
5. Mozart and the Baroque

Bibliography

4
6

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11

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13

6. Mozart’s Possible Plans for the Fantasy
7. Some Optional Endings

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1

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18

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24

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32

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List of Musical Examples

1. Fantasy in D minor, mm. 1-11

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6

2. Fantasy in D minor, mm. 12-15

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7

3. Fantasy in D minor, mm. 20-24

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7

4. Fantasy in D minor, mm. 34-37

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8

5. Fantasy in D minor, mm. 55-70

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9

6. Fantasy in D minor, mm. 87-107

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9

7. Mozart: Fugue Opening from Fantasy and Fugue in C major, K. 394 8. Mozart: Fragment of a Fugue in F major, K. 383b
9. Larry Palmer: Alternate Ending for the Fantasy
10. Mitsuko Uchida’s Ending for the Fantasy

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14

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22

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28

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11. Efi Hackmey’s Ending for the Fantasy, First Solution
12. Efi Hackmey’s Ending for the Fantasy, Second Solution

iv

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29
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1. Introduction
In the spring of 2010 I was invited to perform a concert for Friends of Mozart, a New Yorkbased organization. The concert took place at Christ and St. Stephen’s Church on the Upper West Side on April 7, and the program included chamber music works by Mozart: two piano trios and a sonata for violin and piano (with violinist Mayuki Fukuhara and cellist Lindy Clarke). The organizers asked me if I would play a short piece by Mozart for solo piano, and I suggested to perform the fantasy in D minor, K. 397 (385g). I was thrilled to perform this gem that I played as a young child, now as a mature pianist. I started working on the piece, and after a while decided to listen to some performances and observe how some of the great pianists perform it. I searched on YouTube and started listening to Mitsuko Uchida’s performance. I liked the performance and agreed with much of the interpretation, so I kept listening to the end. Very close to the end – that is, right after m. 97, with only 10 measures left – I heard something that completely shocked me. All of a sudden the piece that I had known for over twenty years changed direction. After the dominant chord in m. 97 Uchida started playing the opening material of the piece again. The brilliant, cheerful ending in D major turned into a somber and somewhat mysterious ending based on the...

Bibliography: March 7, 2012).
Hirsch, Paul. “A Mozart Problem”. Music and Letters 25 (1944): 209-212.
Hutchings, Arthur. Mozart: the Man, the Musician. London: Thames and Hudson, 1976.
Kirkendale, Warren. “More Slow Introductions by Mozart to Fugues by J. S. Bach?”. Journal of
the American Musicological Society 17 (Spring 1964): 43-65.
Mercado, Mario R. The Evolution of Mozart’s Pianistic Style. Carbondale: Southern Illinois
University Press, 1992.
397”. The Diapason 97 (November 2006): 20.
Solomon, Maynard. Mozart: a Life. New York: Harper Collins Publishers, 1995.
Kassel: Bärenreiter, 2005.
Mozart, Wolfgang Amadeus. Klavierstücke. Munich: G. Henle Verlag, 1983.
Mozart, Wolfgang Amadeus. Fantasie d-moll, KV397. Munich: G. Henle Verlag, 1983.
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