Fantasia in C

Structure:
Form
Tonality
Motive: It is taken from a song that Schubert had written earlier.
The song is in C# minor and it is on a person who feels lost not just physically but also
emotionally.
I- C- E(47)- Am(83)- Eb (112)
In bar 132 there is a transition/modulation to prepare us for the C#m.
We can call it either a rondo form since the main theme comes in between the themes or a
free form because theres no structure.
II- c#m- C#- E
Adagio, also a free structure because he hides the movement
III- Ab- Db(sub dominant relationship)
Scherzo- A B A Ternary
Iv- C
Fugato and gives us the impression that the whole movement is going to be a fugue but it
is deceptive because it arpeggios come in and goes off into something quite different
All these keys are third apart.
Liszt based many of his works with this type of structure
Rhythmic aspect (a)

Melodic aspect (b)

A and B are present through
out the whole work.
165- C major. + a motive
Feels like its going to resolve on
f#minor but it never does.
181- end of 1st movement.

He takes quite long so the key is given importance

At the end of the 1st movement its supposed to slow down in order to go in the adagio even though
Schubert doesnt write anything.
215: C#major. And the 2nd variation starts.
219: C#minor
223: C#major 3rd variation
The next variation in 227 in in C# minor.
Up till now the theme is very recognizable. From 227 practically till the end with one exception, the
theme is not present there anymore except of the structure. There is no transition its like an
improvisation
236: We have the start of another variation with a mixture of C#major and minor and ends in bar 244
with an E major chord
Bar 242: codetta is leading us to Ab major.
The Scherzo is fast after all that slow. The key is different, ternary (we do not have the normal
divisions)
Bar 245 is taken from accompaniment of the previous movement
435: Db major
422- 430: transition
431- 450 section B
451- to the fourth movement : transition
478: Eb minor.
4th movement : allegro : fugato - 630
649: he takes up again the idea of the fugato
He is always carefu to make C major the central key of the movement