Reflections on Franz Schubert's «Fantasy»

by Thomas Riebl

Franz Schubert’s Fantasia in C major, D 934, composed in December 1827 for the so-called “Bohemian Paganini” Josef Slavík, already caused considerable bewilderment at its premiere on 20 January 1828. In particular, its unusual length and highly original formal design proved challenging for parts of the contemporary audience. Contemporary accounts even relate that one critic left the hall before the performance had ended, while another described the work as too demanding for a broad public and more suited to a truly discerning audience of connoisseurs. These reactions vividly illustrate the extent to which Schubert, in this composition, deliberately transcended established boundaries and challenged prevailing expectations.

The Fantasia reveals a remarkably rigorous yet highly original design: within a single large-scale structure, Schubert effectively unites four rudimentary sonata movements. This principle is already familiar from other major works such as the Wanderer Fantasy and the Fantasia in F minor for piano four hands. Here, too, he succeeds in organically interweaving contrasting characters and musical worlds into a sweeping dramatic arc that is convincing both structurally and emotionally.

Personally, Schubert’s Fantasia has always moved and fascinated me in equal measure. It moves me in that uniquely Schubertian way which is so difficult to put into words—a blend of intimacy, melancholy, and quiet grandeur. This becomes particularly striking when he quotes his song Sei mir gegrüsst from 1822 and integrates it into the broader context of the Fantasia. These moments possess a timeless quality that speaks directly to the listener and continues to resonate long afterwards.

At the same time, I am deeply fascinated by the masterful way in which Schubert shapes a dramatic arc that ranges from elegiac serenity to dazzling virtuosity. The Fantasia demands the highest level of techni

Thomas Riebl (Viola) & Mari Kato (Klavier)

cal and musical accomplishment from both performers: the subtlest tonal nuances, great expressive power, and a sovereign command of complex structures. It is precisely this interplay of profundity and virtuosity that gives the work its distinctive and compelling character.

My good friend and colleague Rudolf Leopold had already drawn my attention some time ago, through his own arrangement, to the fact that this extraordinary work can also unfold with great conviction on the viola. The idea stayed with me for a long time and continued to occupy my thoughts.

After some hesitation and much careful reflection, I eventually decided to create my own version. It was of great importance to me to preserve the character and expressive power of the original while at the same time bringing out the unique qualities and sonorities of the viola. I very much hope that this arrangement will find its place in the repertoire of many violists and help to make this fascinating work accessible from a new and distinctive perspective.

More information:

The Fantasie,” performed by Thomas Riebl (viola) and Mari Kato (piano) on YouTube

The sheet music edition of the Fantasy for Viola and Piano by Tomas Riebl and ViolaViva

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Schubert, Franz (1797–1828)
Fantasie
for Viola and Piano
Original for Piano and Violin, D 934—Op. 159
Score and viola part marked
» To the edition with preview

Fantasie
for Viola and Piano

Unmarked viola part

» To the DOW edition with preview

Reflections on Franz Schubert's «Fantasy»

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