The Orchestral Elements in Franz Schuberts Wanderer Fantasy

University of Iowa
Iowa Research Online

Theses and Dissertations
2011
The orchestral elements in Franz Schubert's

Wanderer fantasy-with implications for piano
performance
Liang-Fang Chang
University of Iowa
Copyright 2011 Liang-Fang Chang

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/2680
Recommended Citation
Chang, Liang-Fang. "The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance." DMA
(Doctor of Musical Arts) thesis, University of Iowa, 2011.
http://ir.uiowa.edu/etd/2680.
Follow this and additional works at: http://ir.uiowa.edu/etd

Part of the Music Commons
THE ORCHESTRAL ELEMENTS

IN FRANZ SCHUBERT'S WANDERER FANTASY
WITH IMPLICATIONS FOR PIANO PERFORMANCE
by
Liang-Fang Chang
An essay submitted in partial fulfillment

of the requirements for the Doctor of
Musical Arts degree in the Graduate College of
The University of Iowa
December 2011
Essay Supervisor: Professor Uriel Tsachor
Copyright by
LIANG-FANG CHANG
2011
All Rights Reserved
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
_______________________
D.M.A. ESSAY
_______________
This is to certify that the D.M.A. essay of
Liang-Fang Chang
has been approved by the Examining Committee
for the essay requirement for the Doctor of Musical Arts
degree at the December 2011 graduation.
Essay Committee: __________________________________
Uriel Tsachor, Essay Supervisor
___________________________________
Matthew Arndt
___________________________________
Benjamin Coelho
___________________________________
Gregory Hand
___________________________________
Alan Huckleberry
ACKNOWLEDGMENTS
Many thanks to: My advisor, Prof. Uriel Tsachor, for his great musical knowledge
and endless patience. My parents for their unconditional support for my life and study.
My husband, Chen-Ming Lee, for his warmest heart. My daughter, Sabrina Yungjen Lee,
her sweetest smile is always mommys best encouragement.
It is their love which made this essay become possible.
ii
ABSTRACT
Most pianists and music scholars consider Schuberts Wanderer Fantasy his most
virtuosic piano work. The piece was written in November 1822 when the composer was
twenty-five. By that time, Schubert was known for his lieder and some four-hand piano
works, which are written in a very lyrical style. In comparison to these works, the Fantasy
is written with a demanding technique requiring a richer, orchestral sound.
The technical demands of the Wanderer Fantasy at times cause pianists to injure
their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh.
This type of thick texture may have prompted Robert Schumanns comments in his 1828
review of the Fantasy (M.J.E. Brown, Schubert, A Critical Biography [London:
Macmillan & Co., 1958], 124.):
Schubert would like, in this work, to condense the whole orchestra into two
hands
This essay will address two main subjects: first, the Fantasy will be considered
from an orchestral perspective with reference to Schuberts own symphonic writing;
second, this essay will seek to assist the pianist in producing a better sound, as well as
avoiding injury.
It is this essays thesis that Schubert, when composing the Wanderer Fantasy, was
actually constructing an orchestral plan under the guise of a piano score. In order to
analyze Schuberts orchestral writing, this essay will be divided into three chapters.
Chapter one will offer the historical background of the Wanderer Fantasy, chapter two
will discuss Schubert as a symphonist as well as the Unfinished Symphony, which was
written only two weeks before the Fantasy. Chapter three, based on the parallel orchestral
iii
elements found in the Unfinished Symphony piano sketch, will discuss the relationship
between the piano sketch of the Symphony and the Wanderer Fantasy. Following this
comparative analysis, chapter three will also offer practical performance suggestions
based on previously discussed orchestral elements for the pianist. The conclusions
reached in this essay are presented in the hope that they will assist the pianist to achieve a
more meaningful performance when performing the Wanderer Fantasy.
iv
TABLE OF CONTENTS
LIST OF TABLES ........... ..vi
LIST OF FIGURES ........... ...vii
INTRODUCTION ...............................................................................................................1
CHAPTER 1 SCHUBERT AND THE WANDERER FANTASY ........................................8
CHAPTER 2 SCHUBERT AS A SYMPHONIST AND THE UNFINISHED
SYMPHONY ................................................................................................15
2.1 Schubert As A Symphonist ...................................................................15
2.2 Schuberts Symphony No. 8 Unfinished Symphony ..........................18
CHAPTER 3 ELEMENTS OF SCHUBERTS COMPOSITIONAL PROCESS
AND ORCHESTRAL WRITING IN THE WANDERER FANTASY .........21
3.1 The Unfinished Symphony, First Movement: Allegro moderato
(m. 249 to the end) ................................................................................24
3.1.1. Sustained Fortissimo Chords.......................................................25
3.1.2 Tremolo ........................................................................................32
3.2 The Unfinished Symphony, Second Movement: Andante con
moto .......................................................................................................38
3.2.1 Long Octave Legato Lines ...........................................................38
3.2.2 Wedge Staccato ............................................................................42
3.2.3 Dot Staccato .................................................................................52
3.2.4 Rapid Notes Used as an Accompaniment ....................................62
3.2.5 Phrases Containing Parallel Fortissimo Octaves..........................74
3.3 Other Orchestral Elements from the Full Score of the First
Movement of the Unfinished Symphony ...............................................79
3.3.1 Contrasting Orchestral Textures in Different Instruments ...........79
3.3.2 Repeated Phrases Played by Different Instruments .....................85
CONCLUSION ..................................................................................................................93
BIBLIOGRAPHY ..............................................................................................................94
LIST OF TABLES
Table 1 Related articles on Schuberts Wanderer Fantasy and their contents ....................4
vi
LIST OF FIGURES
Figure 1.1
Der Wanderer, D. 489, mm. 23-24. ............................................................10
Figure 1.2
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, m. 1. .........10
Figure 1.3
Wanderer Fantasy, D. 760, Adagio, m. 189. ..............................................10
Figure 1.4
Wanderer Fantasy, D. 760, Allegro, m. 598. ..............................................11
Figure 1.5
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm. 13. ..................................................................................................................11
Figure 1.6
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.

47-50. ...........................................................................................................12
Figure 1.7

164-172. .......................................................................................................12
Figure 1.8
Wanderer Fantasy, D. 760, Presto, mm. 245-246. ......................................13
Figure 1.9
Figure 3.1
Piano Sketch, Unfinished Symphony, D. 759, Allegro moderato, mm.

249-251. .......................................................................................................25
Figure 3.2
Unfinished Symphony, D. 759, Allegro moderato, mm. 249-251. ..............26
Figure 3.3
Piano Sketch, Unfinished Symphony, D. 759, Allegro moderato, mm.

281-284. .......................................................................................................26
Figure 3.4
Figure 3.5
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, m. 32. .......28
Figure 3.6

83-87. ...........................................................................................................28
Figure 3.7
Liszt, Wanderer Fantasy for Piano and Orchestra, Allegro con fuoco
ma non troppo, mm. 28-30. .........................................................................29
Figure 3.8
ma non troppo, m. 32...................................................................................30
Figure 3.9
Piano Sketch, Unfinished Symphony, Allegro moderato, mm. 285288. ..............................................................................................................32
Figure 3.10
Figure 3.11
Piano Sketch, Unfinished Symphony, Allegro moderato, mm. 303309. ..............................................................................................................33

vii
Figure 3.12
Unfinished Symphony, Allegro moderato, mm. 303-309 (all strings

and timpani only).........................................................................................33
Figure 3.13

14-15. ...........................................................................................................34
Figure 3.14
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo,

mm.67-69. ...................................................................................................36
Figure 3.15
Wanderer Fantasy, D. 760, Adagio, m. 231 (first beat)..............................37
Figure 3.16
Practice suggestion, Wanderer Fantasy, D. 760, Adagio, m. 231. .............37
Figure 3.17
Piano Sketch, Unfinished Symphony, Andante con moto, mm. 3-7. ...........38
Figure 3.18
Unfinished Symphony, Andante con moto, mm. 1-11. ................................39
Figure 3.19
Unfinished Symphony, Andante con moto, mm. 45-53. ..............................40
Figure 3.20
Wanderer Fantasy, Allegro con fuoco ma non troppo, mm. 116-117. .......40
Figure 3.21
Wanderer Fantasy, Adagio, m. 215. ...........................................................42
Figure 3.22
Piano Sketch, Unfinished Symphony, Andante con moto, mm. 32-36. .......43
Figure 3.23
Unfinished Symphony, D. 759, Andante con moto, mm. 33-44. .................43
Figure 3.24
Piano Sketch, Unfinished Symphony, Andante con moto, mm. 237243. ..............................................................................................................44
Figure 3.25
Figure 3.26
Unfinished Symphony, Andante con moto, mm. 244-248. ..........................45
Figure 3.27
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm. 13. .................................................................................................................45
Figure 3.28
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo,

mm.133-135. ...............................................................................................46
Figure 3.29
Figure 3.30
Figure 3.31
Figure 3.32
Figure 3.33
Figure 3.34
Wanderer Fantasy, D. 760, Presto, m. 251. ................................................50
Figure 3.35
Wanderer Fantasy, D. 760, Allegro, mm. 711-712. ...................................52

viii
Figure 3.36
Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm.

1-2. ...............................................................................................................53
Figure 3.37

1-9. ...............................................................................................................54
Figure 3.38
Unfinished Symphony, D. 759, Andante con moto, mm. 1-8. .....................54
Figure 3.39
Figure 3.40
Liszt, Wanderer Fantasy for Piano and Orchestra, Adagio, m. 210212. ..............................................................................................................56
Figure 3.41
Figure 3.42
Figure 3.43
Figure 3.44

13-15. ...........................................................................................................59
Figure 3.45
Unfinished Symphony, D. 759, Andante con moto, mm. 13-18. .................59
Figure 3.46
Figure 3.47
Figure 3.48

103-105. .......................................................................................................62
Figure 3.49
Unfinished Symphony, D. 759, Andante con moto, mm. 103-105. .............63
Figure 3.50
Figure 3.51

83-84. ...........................................................................................................65
Figure 3.52
Figure 3.53
Figure 3.54
Liszt, Wanderer Fantasy for Piano and Orchestra, Allegro, mm. 641642. ..............................................................................................................68
Figure 3.55
Practice Suggestion, Wanderer Fantasy, D. 760, Allegro, m. 641. ............69
Figure 3.56
Figure 3.57
Liszt, Wanderer Fantasy for Piano and Orchestra, mm. 659-661. .............72
Figure 3.58
Practice Suggestion, Wanderer Fantasy, D. 760, Allegro, m. 659. ............73
Figure 3.59

ix
Figure 3.60
Figure 3.61
Figure 3.62
Unfinished Symphony, D. 759, Andante con moto, mm. 96-100. ...............75
Figure 3.63
Unfinished Symphony, D. 759, Andante con moto, mm 237-240. ..............76
Figure 3.64

152-154. .......................................................................................................77
Figure 3.65
ma non troppo, mm. 150-152. .....................................................................78
Figure 3.66
Unfinished Symphony, D. 759, Allegro moderato, mm. 11-14. ..................80
Figure 3.67
Wanderer Fantasy, D. 760, Adagio, mm. 206-207. ....................................81
Figure 3.68
Liszt, Wanderer Fantasy for Piano and Orchestra, Adagio, m. 206. ..........81
Figure 3.69
Wanderer Fantasy, D. 760, Adagio, mm. 236-237. ....................................83
Figure 3.70
Liszt, Wanderer Fantasy for Piano and Orchestra, Adagio, m. 237. ..........83
Figure 3.71
Practice Suggestion, Wanderer Fantasy, D. 760, Adagio, m. 236. .............84
Figure 3.72
Unfinished Symphony, D. 759, Allegro moderato, mm. 73-80. ..................86
Figure 3.73
Unfinished Symphony, D. 759, Andante moderato, mm. 94-101. ...............87
Figure 3.74
Unfinished Symphony, D. 759, Andante moderato, mm. 122-131. .............88
Figure 3.75
Unfinished Symphony, D. 759, Andante con moto, mm. 231-236. .............89
Figure 3.76
Unfinished Symphony, D. 759, Andante con moto, mm.258-265. ..............90
Figure 3.77
Figure 3.78
Liszt, Wanderer Fantasy for Piano and Orchestra, Presto, mm. 458466. ..............................................................................................................91
INTRODUCTION
After completing the recital requirements of the Doctor of Musical Arts program
at The University of Iowa in December 2007, I was eager to schedule my next
performance. Through six on-campus recitals, several off-campus recitals, and countless
accompanying recitals during my graduate school years, I began to understand better how
to communicate with audiences through music. I believe the essential element of this
genre of performing art is to connect with the audience throughout the performance.
Therefore, I decided to apply for a piano recital at the National Recital Hall in Taiwan,
hoping through proper preparation to be recognized as a professional musician.
A major goal for all Taiwanese performers is to have a recital at the National
Theater and Concert Hall (NTCH) in Taiwan. The NTCH is Taiwans premier
performance venue, featuring a traditional Chinese palace structure coupled with modern
acoustic design. A soloist performing there has clearly achieved professional status.
An important part of a recital is to choose an appropriate program. The program
not only has to be difficult enough to show the soloists refined technique but also must
be familiar enough to the audience so they can relate to it and appreciate it fully. For my
first performance at the National Recital Hall, I certainly knew that in addition to
exhibiting well-developed performance skills, I needed to find a means by which I could
hear the music in my mind as well as see it on the page. In the entire piano repertoire, I
love Franz Schuberts piano music the most and believe I can naturally convey its spirit
to my audience. However, Schuberts piano music in Taiwan continues to be somewhat
misunderstood, not only by amateurs but also by a significant number of professional
musicians. The common misconception about it revolves around its length and its
2
complex modulations. In order to let audiences experience Schuberts unique musical
style, I decided to play an all-Schubert recital at the National Recital Hall.
While searching through Schuberts piano works for my recital, one day I
happened to hear Schuberts Wanderer Fantasy on the radio. I immediately knew that the
piece was the one I wanted to perform. It highlights Schuberts typical lyricism in the
second movement, the lndler spirit (although in a fast tempo) in the third movement, the
remarkable orchestral manner at the beginning of the first movement, and an
extraordinary fugue section in the last movement. It seemed to me that the young
Schubert was pouring his entire soul into the piece.
When I mentioned my plan for the Wanderer Fantasy to my advisor, Dr. Uriel
Tsachor, at the University of Iowa, surprisingly he did not fully support my choice, but
instead, suggested that I listen to a few recordings and see how I felt about the piece.
Then I could decide to play the piece or not. His suggestion struck me as curious, but I
still checked out the recordings later that day.
When I listened to the recordings, I was definitely attracted to the beautiful music
and some of the polished performances; however, I was also surprised to hear
distractingly harsh sounds from a number of them. After our next meeting, I finally
realized that my professor was hoping that I would hear all the difficulties inherent in
performing the Fantasy despite those gorgeous melodies. The recordings that I did not
like actually exposed the difficulties experienced by the pianists. The harsh sounds were
the consequence of pursuing a high-level performance without properly incorporating the
appropriate technical means. The difficulties caused by the Fantasy are not only a
consequence of its length (it is a twenty-two minute, continuous work), but also from the
3
thick texture Schubert wrote into the piece. The composer seemed to have constructed a
symphonic piece on the piano.
Before I started to learn the piece, I had to understand that in order to bring the
most beautiful tone quality to the Fantasy and avoid injuries, I had to conquer many arm
weight playing techniques that were unfamiliar to me.
While discussing with my professor the possibility of performing the Fantasy, I
was also beginning to write the DMA essay, my last requirement for the doctoral
program. Originally, I was working on another topic; however, learning the application of
arm techniques for the Wanderer Fantasy and practicing them daily gradually redirected
my focus toward this work and its challenges as the foundation for my DMA essay. Thus,
I decided to change my topic and combine the writing and practicing challenges inherent
to the Wanderer Fantasy in the hope that my analysis of this work would serve as a
useful guide to pianists.
In the spring of 2008, I began to research current books, articles, and papers about
the Fantasy. Surprisingly, I found that most of them focused on the relationship between
the Lied, Der Wanderer, and the Wanderer Fantasy, the development of the rhythmic
motif in the Fantasy, and its structural influence on late nineteenth-century composers,
with little mention of the connection between the Wanderer Fantasy and Schuberts
orchestral writing.
4
Table 1 Related articles on Schuberts Wanderer Fantasy and their contents
Name of article/
author/publisher/year
The Piano Works of
Schubert/Eva BaduraSkoda/Routledge/2004
Schuberts Piano Music:
Probing the Human Condition/
William Kinderman/Cambridge
University Press/1997
Schubert/ John Reed/Oxford
University Press/1998
Schubert, the Man and the
Music/ Brian
Newbould/University of
California Press/1997
Schubert: Solo Piano Literature/
ed. by Carolyn
Maxwell/Maxwell Music
Education/1986
Mirror of His Soul: Schuberts
Fantasy in C (D. 760)/ Elaine
Brody/The Piano
Quarterly/1979
Questions About the Persona of
Schuberts Wanderer Fantasy/
Charles Fisk/College Music
Symposium/1989
Schubert and the Piano/
Geoffrey Linnell/The
Schubertian/1997
Oaks and Osmosis/ Leo
Black/The Musical Times/1997
Structural Novelty and
Tradition in the Early Romantic
Piano Concerto/ Stephen
Lindeman/Pendragon
Press/1999
Main Focus
Relationsh Theoretical
Influences
ip to Der
analysis
on later
Wanderer (Rhythmic motif, composers
structure )
Orches
tral
writing
5
Table 1 Continued
Adornos image of Schuberts
Wanderer Fantasy multiplied
by ten/ Jonathan
Dunsby/Nineteenth Century
Music/2005
The unfinished piano sonatas of
Schubert: The wanderers trail
1815-1819/ Hikari
Nakamura/University of
Iowa/2005
Among those thirteen contemporary articles, only Elain Brodys and Eva BaduraSkodas essays mentioned Schuberts orchestral writing. Elaine Brody wrote in 1979 in
her Mirror of his soul: Schuberts Fantasy in C (D. 760): Schubert uses his favorite epic
key, C major, and treats the keyboard in an orchestral manner.1 Eva Badura-Skoda
wrote in 1990 in Nineteenth Century Piano Music: in Op. 15the seeds of the
symphonic development of the nineteenth century are presentIn its grandiose
orchestral use of the piano, Schuberts Wanderer Fantasy stands as a guidepost to the
future.2 However, neither treatise provided any further discussion regarding how
Schubert treated the keyboard in an orchestral manner.
While researching, I also learned that Schubert wrote his famous Unfinished
Symphony D. 759 about two weeks before the Fantasy: he wrote the date 30 Oct. 1822
on the first page of the Symphony, while the Fantasy was completed in November 1822.
1 Elaine Brody, Mirror of His Soul: Schuberts Fantasy in C (D. 760). The Piano Quarterly 104
(1979), 26.
2 Eva Badura-Skoda, The Piano Works of Schubert, in Nineteenth-Century Piano Music, ed. R.
Larry Todd (New York and London: Routledge, 2004), 138.
6
Thus, the orchestral manner in the Fantasy appeared to align with the composers mood
while writing the Unfinished Symphony. Therefore, the extant piano sketch of the
Symphony becomes a reasonable indication for how Schubert developed the orchestral
concept in the Fantasy.
After a period of studying and practicing the Wanderer Fantasy, I gradually
established the essays main concept. The essay provides an analysis of the Fantasy as an
orchestral concept. In order to be practical to the pianist who reads the essay, the essay
also offers performance suggestions such as arm weight technique applications, finger
distance and positioning, and appropriate coordination between arms and fingers. These
useful suggestions and some of the orchestra manifestations are a direct outcome of many
invaluable lessons and conversations with my advisor, Prof. Uriel Tsachor.
Throughout the essay, the orchestral analysis of the Wanderer Fantasy is based on
the authors opinion, which is established from the comparison between the piano
sketches of the Unfinished Symphony and the Wanderer Fantasy. Although the piano
sketches were simplified scores for the orchestra and not meant to be played on the piano,
pianists can still benefit from logical comparison between and analysis of the sketches
and the Fantasy.
During the research, I also learned that Franz Liszt arranged the Wanderer
Fantasy for piano and orchestra in 1851. This arrangement provides support for the
essays hypothesis of viewing the Fantasy from an orchestral concept. However, since
Liszts orchestration is full of late romantic style, it may not present the Fantasy with the
original composer, Schuberts, spirit. Therefore, caution is advised when comparing the
solo and the orchestral versions of the Fantasy.
7
While working on my essay, I was chosen to perform a recital at the National
Recital Hall in Taiwan in June 2009. The performance received great critical acclaim for
both the unique all-Schubert program and the sensitive musical thought imparted through
the refined piano techniques. I truly believe my preparation and subsequent performance
experience with the Wanderer Fantasy at this magnificent Taiwanese venue has proven
to be a keystone in the nascent development and later refinement of my essay.
CHAPTER 1
SCHUBERT AND THE WANDERER FANTASY
Schuberts letter to his friend Josef von Spaun (1788-1865) on December 7,
1822, first revealed he had finished a fantasy for piano: Apart from these I have
composed a Fantasy for pianoforte, two hands, which is also to appear in print, inscribed
to a certain wealthy person.3
The Fantasy mentioned in the 1822 letter above is the Wanderer Fantasy, which
today is one of his most-often-heard concert piano works. Despite its famous sobriquet,
Wanderer Fantasy, the piece was originally called Fantasy in C major op. 15 (D. 760).
The current title is derived from the composers Lied, Der Wanderer, which was
composed six years earlier, in 1816. The expressive C-sharp minor theme of the Lied was
directly quoted in the second movement of the Fantasy.
In addition to the lyrical second movement, the Fantasy also includes three other
fast and bravura character movements. Those bravura movements were written in a thick
or rich texture: numerous ff chords and rapidly moving notes. The numerous ff chords and
passages present major difficulties for the pianist. The combination of technically
demanding sections and expressive moments has created for the Fantasy its own unique
place in the piano repertoire since the early nineteenth century.
Unlike most of Schuberts works, the Fantasy was published during his lifetime,
on February 23, 1823 by Cappi & Diabelli, with its first review found on April 30, 1823,
in Viennas Allgemeine Musikalische Zeitung:
3 O. E. Deutsch, The Schubert Reader: A Life of Franz Schubert in Letters and Documents (New
York: W. W. Norton & Company Inc., 1947), 248.
9
A fantasy is a musical piece in which a composer may allow perfectly free
deployment to the wings of his imagination, unite the most curious forms into the greatest
possible unity Seeing that a composer like Herr Schubert, who had already betrayed
such profound sentiments in his generally esteemed songs, presents us with a soul-image
of this kind, the musical world can only rejoice. 4
According to this first review, Schubert adopted fantasy as a format for this
piece to allow himself complete freedom. The Fantasy is a continuous work, about
twenty-two minutes long, consisting of four sections: Allegro, Adagio, Presto, and
Allegro. Based on the tempo arrangement, the Fantasy can also be seen as a fourmovement sonata.
In 1822, Der Wanderer D. 489 was Schuberts most popular song after Erlknig.
The text was written by the amateur poet Georg Philipp Schmidt (1766-1849), and
Schubert quoted the melody of the first line of the second stanza from the Lied: . Die
Sonne dnkt mich hier so kalt (Methinks the sun is so cold here) as the main theme of
the piece. The quotation appears in the Adagio movement in exactly the same tempo, key,
and mood as in the Lied.
In addition to this self-quoted theme, Schubert also unifies the Fantasy through
the rhythmic motif from the piano accompaniment of the Der Wanderer (Figure 1.1).
This rhythmic motif in the piano accompaniment in Figure 1.1 not only unifies the
Fantasy but also differentiates the four-movement sonata structure of the Fantasy from a
simple longer free form (Figure 1.2-1.4).
4 O. E. Deutsch, The Schubert Reader, 277.
10
Figure 1.1 Der Wanderer, D. 489, mm. 23-24.
Figure 1.2 Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, m. 1.
Figure 1.3 Wanderer Fantasy, D. 760, Adagio, m. 189.
11
Figure 1.4 Wanderer Fantasy, D. 760, Allegro, m. 598.
The Fantasy is the earliest of a series of famous sonata-like fantasies, or fantasylike sonatas, examples of which come from Mendelssohn, Schumann, and Chopin and
culminate with the Sonata in B minor by Liszt.5
The opening movement is very much like a sonata-allegro form without a
recapitulation. In this movement, the heroic first theme, the lyrical second theme, and the
transition to the second movement (Figure 1.51.7) are all generated from the same
rhythmic pattern.
Figure 1.5 Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm. 1-3.
5 Stewart Gordon, A History of Keyboard Literature: Music for the Piano And Its Forerunners
(New York: Schirmer Books, 1996), 232.
12
The theme of Der Wanderer appears in the Adagio followed by a set of variations
(although Schubert did not give a clear indication for each variation); the composer also
modulates between C-sharp minor and C-sharp major with each variation. A Presto
movement follows without any break and is basically a scherzo and trio. The beginning
of the Presto is literally from the left hand of measure 236 through measure 244 of the
second movement (Figure 1.8~1.9).
13
Figure 1.8 Wanderer Fantasy, D. 760, Presto, mm. 245-246.
Figure 1.9 Wanderer Fantasy, D. 760, Adagio, m. 236.
The final movement has all the traits of a fugue in its opening, and the
counterpoint breaks down to a series of octaves, tremolos, arpeggios, and rapid scales to
bring the work to a brilliant conclusion.
Although Schubert created the Fantasy for the keyboard, it is well known that the
physical and mental challenges the work poses were beyond his own playing abilities.
Several of Schuberts friends remembered an informal performance during which
Schubert broke down in the last movement and announced, Let the devil play the
stuff.6
6 Elaine Brody, Mirror of His Soul: Schuberts Fantasy in C (D. 760). The Piano Quarterly 104
(1979), 30.
14
From a performers perspective, playing the Fantasy is challenging, because the
work includes more forte, fortissimo, sforzando passages than the vast majority of other
large-scale works, as well as the long tremolo, the extreme ranges of both hands, and the
rapid sixteenth notes in pianissimo. All these features can easily be perceived as key
elements of orchestral writing. Therefore, it is the hypothesis of this essay that Schubert,
when composing the Wanderer Fantasy, was actually conceptionalizing an orchestral
piece under the guise of a piano score. In order to analyze Schuberts orchestral plan in
the Fantasy, the following chapter is devoted to a discussion of Schubert as a symphonist
and his Unfinished Symphony (dated on the first page of the full score: October 30, 1822).
As mentioned previously, this work composed in the same timeframe as the Wanderer
Fantasy (November 1822). Based on the close proximity of these dates, the Wanderer
Fantasy is presumed to be reminiscent of the composers similar symphonic language
successfully employed two weeks earlier when composing the Unfinished Symphony.
15
CHAPTER 2
SCHUBERT AS A SYMPHONIST AND
THE UNFINISHED SYMPHONY
Before examining the Wanderer Fantasy from an orchestral perspective,
Schuberts symphonies should first be considered to gain an understanding of the
elements of his symphonic language and his compositional process.
2.1 Schubert As A Symphonist

Schubert composed nine symphonies, including the seventh, which is only in
sketch form, and the eighth, which has only two completed movements. He finished his
first symphony in 1813 at the age of sixteen, and composed the Unfinished Symphony
(the eighth) in 1822 at the age of twenty-five. By the time he completed the last
symphony, the Ninth Symphony, nicknamed the Great, he was around thirty. At the
age of thirty, Beethoven was just composing his first symphony, whereas Schubert
already had nine of them. His nine symphonies are as follows:
Symphony no. 1, in D major (c. 1813)
Symphony no. 2, in B-flat major (1815)
Symphony no. 3, in D major (1815)
Symphony no. 4, in C minor (1816)
Symphony no. 5, in B-flat major (1816)
Symphony no. 6, in C major (1818)
Symphony no. 7, in E major (1821)
Symphony no. 8 Unfinished in B minor (1822)
Symphony no. 9 Great in C major (1825-1828)
16
From the nineteenth century through the present day, musicologists often clarify
Schubert as a song composer rather than a symphonic or piano composer. The fact
remains, however, that Schubert began work on his first orchestral piece, Overture in D,
D. 2a (only a fragment), around 1810 or 1811 and his first symphonic piece, Symphony in
D, D. 2b (only a fragment of the first movement) during the same period. This was close
to the time of his first composition, Song, in c, D. 1a, around 1810 (only a sketch with no
text), and was earlier than any of his piano, theatrical, or choral works.7
Schuberts educational background greatly influenced his later works. Based on
his marvelous talent as a singer, he easily passed the highly competitive audition for the
Kaiserlich-knigliches Stadtkonvikt (Imperial and Royal City College) and entered the
college in 1808 at the age of 10. At the college, Schubert was soon invited to join the
second violin section in the student orchestra and became acquainted first hand with the
orchestral works of Haydn, Mozart, early Beethoven, and their less famous Viennese
contemporaries. According to Schuberts life-long friend Josef von Spaun, Mozart's
Symphony no. 40 in G minor and Beethoven's Second Symphony made a particularly
strong impression on Schubert.8
During his first two years at the college, Schubert received regular composition
lessons with Antonio Salieri (1750-1825)9. Salieri was a well-known composer of operas
7 His earliest piano work is Fantasie, c [formerly 993], D. 2e, which was written in 1811; his
earliest theatrical work is Der Spiegelritter, D. 11, which was written from around Dec. 1811 to
late 1812 or early 1813; his earliest choral work is Quellinnocente figlio, D. 17 (for mixed
voice), which was written around 1812.
8 Robert Winter: Franz Schubert, Life: (i) Background and Childhood. Grove Music Online
Dictionary
9 Ibid.
17
who had studied with Gluck and was Mozarts rival at the Viennese court. He had taught
Beethoven lessons in the setting of Italian texts to music, and in his last years also taught
the young Liszt. Although Schubert was only eleven when he studied with Salieri, he felt
passionate about Mozarts and Beethovens symphonic works. As a teacher, Salieri did
not inspire the young boy with more symphonies. Instead, he urged Schubert to find his
models in Italian opera, a directive that conflicted sharply with Schubert's enthusiasm for
the music of Mozart, Haydn, and Beethoven, as well as with his growing interest in the
poetry of Goethe and Schiller as material for songs. The young Schubert thus absorbed
on his own the ideas implicit in the scores of Haydn, Mozart, and Beethoven. Not
surprisingly, by the time he was 13, Schubert seems to have discontinued his regular
lessons with Salieri.
After writing four overtures and one symphony in fragment, Schubert finally
completed his first symphony in 1813 at the age of 16: Symphony no. 1 in D, D. 82. With
this work, he officially began his career as a symphonic composer. The short-lived
composer left behind a great number of vocal works (more than six hundred), but only
nine symphonies (seven of which are completed). Among those nine symphonies, the
first six were written before 1818, when Schubert was about 21. While these symphonies
contain the enthusiasm of the young composer, they lack the maturity demonstrated in his
later works.
With regard to Schuberts vocal works and symphonies, a cursory examination of
both may initially lead a casual observer to view the latter works as less important than
his vocal works. However, the symphonies are indeed much larger in scope and more
complex in the conception than are the songs. Thus, even though the number of
18
Schuberts symphonies is far fewer than his vocal works, the scope, innovative texture,
and original orchestral language of Schuberts symphonies10 elevate their status to a
level of equivalent or greater significance than his vocal pieces.
Schuberts extraordinary talent as a symphonist manifests itself through his
compositional process. Schubert rarely heard his own instrumental pieces performed, and
none of his symphonies was performed or published during his lifetime.11 He never had a
second chance to edit his symphonies after hearing an orchestral performance. However,
the composer apparently had no difficulty in precisely conveying the timbre he wanted
from the orchestra. Due to the lack of opportunities for hearing his symphonies
performed, Schubert actually created his symphonic works solely through composing at
the keyboard. To do so successfully, he had to know clearly the uniqueness and capability
of every instrument in the orchestra and certainly had to understand very well the
similarities and differences between orchestral instruments and the piano.
2.2 Schuberts Symphony No. 8 Unfinished Symphony

Schuberts symphony No. 8 in B minor, D. 759 was composed in October 1822,
and remained unfinished at Schuberts death. There are many unfinished symphonies in
music history, for example by Tchaikovsky, Mahler, and Elgar, but the title is generally
10 For example, at the beginning of the Symphony No. 9, Schubert had two French horns play the
eight-measure theme in unison and unaccompanied. This kind of orchestration never appeared in
the works of his predecessors.
11 O. E. Deutsch, The Schubert Reader: A Life of Franz Schubert in Letters and Documents
(New York: W. W. Norton & Company Inc., 1947), 934-938.
19
taken to refer only to Schuberts.12 The essay will also apply this title when discussing
the symphony.
In 1822 Schubert completed the first two movementsof the Unfinished Symphony:
Allegro moderato and Andante con moto. He sketched part of the third movement, but
probably wrote nothing for the last movement. However, a study of Schuberts sketching
habits in other works does suggest that he may have sketched all four movements of the
Unfinished before writing the orchestral score. Since the composer only left full scores
for the first two movements and musicologists are still debating the existence of the last
movement, the discussion in this essay will focus on the two finished movements.
After completing the first two movements of the Unfinished Symphony in
October, 1822, Schubert sent a well-written copy of those two movements in 1823 to the
Styrian Music Society in Graz to thank the organization for his nomination as an honorary
member of the society. A letter that Schubert sent earlier to the Styrian Musical Society
reveals his plan: In order to give musical expression to my sincere gratitude as well, I
shall take the liberty before long of presenting your honorable Society with one of my
symphonies in full score.13 Since Schubert had received his diploma from Graz, the
manuscript appears to have been sent to the Graz society, but instead of sending a
complete symphony to the society directly, Schubert sent the manuscript of the first two
12 Grove Music Online Dictionary. Key word: Unfinished Symphony.

13 O. E. Deutsch, The Schubert Reader: A Life of Franz Schubert in Letters and Documents,
(New York: W. W. Norton & Company Inc., 1947), 289.
20
movements of the B minor Symphony, the Unfinished Symphony, to his friend Anselm
Httenbrenner.
Httenbrenner, the president of the Styrian Music Society from 1825 to 1829, kept
the Unfinished Symphony locked up for more than forty years, and Schubert never
mentioned the Unfinished Symphony to other people. Thus this remarkable work was
ignored for about half a century before its premiere in 1865. The Viennese critic Eduard
Hanslick described the first performance of the symphony on December 17, 1865 as
follows:
The tonal beauty of the two movements is fascinating. With a few horn
figurations here and there and a clarinet or oboe solo, Schubert achieves, with
the most simple, basic orchestra, tonal effects which no refinement of
Wagnerian instrumentation can capture. This symphonic fragment may be
counted among Schuberts most beautiful instrumental works, and I am
especially happy to say so here because I have permitted myself more than once
to speak warningly of over-zealous Schubert worship and the adulation of
Schubert relics.14
In the next chapter, the compositional process which Schubert employed in the
Unfinished Symphony will be analyzed and discussed. Subsequently, the orchestral
elements used in the Wanderer Fantasy will be identified and the technical applications
for pianists will be addressed.
14 A. Peter Brown, The Symphonic Repertoire II: The First Golden Age of the Viennese
Symphony: Haydn, Mozart, Beethoven, and Schubert (Bloomington: Indiana University Press,
2002), 623.
21
CHAPTER 3
ELEMENTS OF SCHUBERTS COMPOSITIONAL PROCESS AND
ORCHESTRAL WRITING IN THE WANDERER FANTASY
According to Leonard Michael Griffel, 15 Schubert often worked on a piano
sketch prior to working on the full score of an orchestral piece. He would then plot the
melody-carrying voices on the orchestral score before filling in the other parts. He would
sketch and complete one page of the score at a time before moving to the next and would
use different shades of ink for sketching and scoring. According to this source, Schubert
edited and revised his symphonies a great deal; he used a new color of ink for each stage
of revision. If a draft became too messy, he would recopy the score. When he was
convinced that his work was finished, he would generally discard his sketches and all the
preliminary drafts. Therefore, the extant sketches and drafts are the most reliable, firsthand resources to use in studying Schuberts compositional process and harmonic plan in
his nine symphonies.
According to Martin Chusid, except for the Unfinished Symphony, there are no
piano sketches remaining for the completed symphonies (i.e., the first six and the Great
Symphony) or for the symphony sketch (No. 7) in E of 1821.16 As Georg Kinsky pointed
out in 1928, these Schubert sketches and autographed scores are very important because
they are all that Schubert ever saw of his symphonies, since none of them were published
15 Leonard Michael Griffel, Schuberts Approach to the Symphony, (New York: Columbia
University, 1975), 94.
16 Martin Chusid, Franz Schubert Symphony in B Minor (Unfinished): An Authoritative Score,
Schuberts Sketches, Commentary, Essays in History and Analysis (New York: Norton &
Company, 1971), 4.
22
during his lifetime.17 A close study of Schuberts existing sketches and autographed
scores reveals a great deal about his compositional methods.
In addition to the piano sketches for the Unfinished Symphony, Schubert left
another three sketches for his incomplete symphonies: Three Symphonies in Fragment,
D. 615, 718A, and 936A. These sketches were probably preserved because the
symphonies were never completed. A comparative analysis of these four sketches shows
that the sketch for the Unfinished Symphony is the most detailed. As was mentioned
previously (p. 12), in 1823 Schubert sent the transcribed copy of the first two movements
to the Styrian Music Society in Graz. He kept the corresponding piano sketches in his
drawer for himself, strongly suggesting that he felt a need to keep them in order to finish
the work. After his premature death in 1828, the sketches passed to his brother Ferdinand
Schubert. Unlike the transcribed copy of the first two movements, the piano sketches
never left Vienna and were unknown to the Httenbrenner family in Graz. In 1883, Max
Friedlaender18 discovered the sketches in Vienna19 and brought them to the publics
attention.
According to Griffel, the extant piano sketches for the Unfinished Symphony
begin with m. 249 of the first movement (Allegro moderato) at p. 4 and conclude with the
sixteenth bar of the Trio of the third movement on p. 10.20 The most valuable aspect of
17 Leonard Michael Griffel, Schuberts Approach to the Symphony (New York: Columbia
University, 1975), 93.
18 Friedlaender, Max (1852-1934). The German musicologist had a small but valuable collection
of autograph compositions and letters of German composers. Grove Music Online Dictionary
19 Ibid., 173.
20 Ibid., 170.
23
this sketch is that it offers so many details, including some dynamic markings and
indications of orchestration for a later compositional stage. In this sketch, Schubert is not
just preparing melodies; he is virtually composing the entire piece in a piano arrangement
format.
Brenreiter21 published a study score of the Unfinished Symphony in 1997,
providing the piano sketches as an appendix. This appendix includes a fragment of the
third movement (in full score) and the piano sketches mentioned above. In order to
scrutinize Schuberts orchestration process in the piano sketches, this essay will compare
the full scores with the piano sketches of the first two movements and then apply the
results of this analysis to the Wanderer Fantasy.
Since Schubert worked on piano sketches prior to transferring music to the full
score, one sees a logical progression from his piano sketches to his orchestral scores.
Therefore, to understand fully his compositional process, one should study his piano
sketches first before examing his finished orchestral scores. The piano sketches of the
Unfinished Symphony reveal the orchestral nature of the piano score that often imitates
the articulation of string and wind instruments. Thus, the sketches offer an excellent
insight into how Schubert constructed a symphonic piece under the guise of solo piano
music.
In order to understand clearly the comparison between the Unfinished Symphony
and the Wanderer Fantasy below, two points need to be clarified.
First, since Schubert composed the Wanderer Fantasy as a continuous piece with
four different sections (movements), the measure numbers that appear in this essay will
21 German firm of music publishers. Founded in Augsburg in 1924 by Karl Vtterle.
24
be presented consecutively throughout the entire piece and are not unique to each
movement. However, each movement will be discussed separately.
Second, attention should be paid to the articulation markings when reading
Schuberts handwriting. The composer frequently inserted markings for only the first few
bars (or notes) of the passage and not for the entire passage, which complicates the
reading of his sketches. Fortunately, the often symmetrical musical phrases assist
performers in making an interpretation consistent with Schuberts intentions (See Figure
3.38 on p. 53, where the left hand carries dot staccato at m. 1 and 2, but not m. 7 and 8.
Based on the symmetrical musical phrases, the pianist should also play m. 7 and 8 with
dot staccato).
After the comparison between the Unfinished Symphony and the Wanderer
Fantasy, the essay provides a discussion of the Wanderer Fantasy and its orchestral
elements. The discussion focuses on the physical aspects of actual piano playing. Also
included are discussion on both sonority implications and technical applications relevant
to each musical example. And, through this discussion, the way pianists can use their
bodies to produce an orchestral sound while performing this piece are also considered.
3.1 The Unfinished Symphony, First Movement: Allegro

moderato (m. 249 to the end)
The extant piano sketches, which contain just 93 measures, reveal two unique
orchestral elements.
25
3.1.1. Sustained Fortissimo Chords

The piano sketches for the first movement begin with m. 249. Immediately, the
right hand brings out a C-sharp dominant-seventh chord with ff dynamic markings
(Figure 3.1). The chord lasts for six-and-half beats. For the piano, the sound decays soon
after the keys have been pressed, making it impossible to maintain the ff for the full
count. Therefore one must consider this to be a typical orchestral effect, with long notes
that could only be sustained by string and wind instruments.
Figure 3.1 Piano Sketch, Unfinished Symphony, D. 759, Allegro moderato, mm. 249-251.
The chord is played by the entire woodwind and string sections plus trumpets and
timpani in the orchestra (Figure 3.2).
In m. 281 and 283 of the piano sketches (Figure 3.3), these sustained ff chords
appear again, but this time the chords are sustained for only three beats in each bar, and
Schubert places an accent marking above the chord to emphasize the harmonies.
26
Figure 3.2 Unfinished Symphony, D. 759, Allegro moderato, mm. 249-251.
Figure 3.3 Piano Sketch, Unfinished Symphony, D. 759, Allegro moderato, mm. 281-284.
In the full score, the entire orchestra plays the chords. The strings emphasize the ff
effect by playing tremolo. (Figure 3.4).
27
Figure 3.4 Unfinished Symphony, D. 759, Allegro moderato, mm. 281-284.
In a similar manner, the sustained fortissimo chords first appear in the Wanderer
Fantasy at m. 32 (Figure 3.5) and 38 in the right hand, as well as in the left hand at m. 84,
86, and 87 (Figure 3.6).
28
Figure 3.5 Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, m. 32.
In Figure 3.5, the right hand plays chords in a high register while the left hand
plays rapid sixteenth notes. Based on the comparison between the piano sketches and the
finished full score of the Unfinished Symphony, one could imagine that the chords in the
right hand would be appropriate for the woodwind section, and the supplementary
sixteenth notes in the left hand would be appropriate for the strings.
Probably as a result of having seen the orchestra traits of the Wanderer Fantasy,
Franz Liszt arranged the Fantasy for piano and orchestra in 1851. A close analysis of m.
28 and 30 in Liszts concerto version (Figure 3.7) indicates that Liszt assigned oboes and
horns to play the high chords and first violins to play the sixteenth notes.
29
Figure 3.7 Liszt, Wanderer Fantasy for Piano and Orchestra, Allegro con fuoco ma non
troppo, mm. 28-30.
In m. 32 (Figure 3.8) and 38 of the concerto version, Liszt did not write sixteenth
notes for any instrument except for the piano. The woodwind section was assigned to the
sustained fortissimo chords. As a result, the fast notes of the piano are not obscured by
the orchestra. Liszts arrangement seems to supports the interpretation proposed by this
essay.
30
Figure 3.8 Liszt, Wanderer Fantasy for Piano and Orchestra, Allegro con fuoco ma non
troppo, m. 32.
When playing Schuberts Wanderer Fantay, in order to get the orchestral sound in
the sustained fortissimo chords, the pianist has to apply weight from both the arm and the
shoulder. The right hand at m. 32 (Figure 3.5) and 38 should be completely supple before
and after pressing the keys, and when playing the chords, the weight of the entire arm
must be applied instead of only the wrist or fingers. Being supple does not mean that the
31
hand is soft and completely collapsed on the keyboard but that the fingers and wrist need
only the weight necessary to sustain the hand position on the keyboard. The crescendo
and ff sounds are actually achieved from the weight of shoulder and upper arm. When the
wrist and fingers are well positioned on the keyboard and are supple enough, the weight
from the shoulder and upper arm can transfer successfully through the entire hand and
carry the power into the keyboard.
To apply this arm weight correctly and thereby creating better sonority and tone
color during the sustained fortissimo chords, the pianist should practice the sixteenth
notes before the chords (m. 31 and m. 37) at a slower tempo. The pianist should closely
monitor the flexibility of the entire arm while practicing this section and then combine
the sixteenth notes with the chords using the same arm flexibility.
In Figure 3.6, the fortissimo chords in the left hand only last for two beats each
time, but each of them has a fz. This means they must be played not only ff (as in ff in m.
83), but also with a certain emphasis. The high register of the chords suggests that they
probably would be played by woodwinds in the orchestra, with the previous ff octaves
played by the bass section (cello, bass, and trombone).
Due to the big shift in the left hand at mm. 84, 86, and 87, the sustained fortissimo
chords here, when compared with those at m. 32 and m. 38, are easier for pianists to
maintain with a relaxed arm thus generating a warm sound. During performance, those
big shifts by a single hand require a broader and round movement; through those
expansive movements, it is easier to maintain a relaxed muscle and thus the possibility of
having supple arms is increased. When the arms are supple while executing the shift, the
sound tends to be richer and more orchestral rather than percussive.
32
3.1.2 Tremolo
In the piano sketches of the Unfinished Symphony, from mm. 285-288 (Figure
3.9), the right hand is written in tremolo, which is a common technique for string
instruments.
Figure 3.9
Piano Sketch, Unfinished Symphony, Allegro moderato, mm. 285-288.
In the full score, the tremolo is played by violins and violas (Figure 3.10).
Figure 3.10
Unfinished Symphony, D. 759, Allegro moderato, mm. 285-288.
33
A similar texture appears again from mm. 303-309 (Figure 3.11); this time both
hands are playing tremolo.
Figure 3.11
Piano Sketch, Unfinished Symphony, Allegro moderato, mm. 303-309.
In the orchestra, all string instruments and the timpani play their notes in a
tremolo texture at this spot (Figure 3.12).
Figure 3.12
Unfinished Symphony, Allegro moderato, mm. 303-309 (all strings and

timpani only).
34
Rapid up-and-down movement of the bow on stringed instruments produces
tremolo.22For strings, each instrument plays one to two notes but with many stringed
instruments when playing tremolo, but for piano, pianists have to play all the notes at the
same time. This technique also causes a difficulty to pianists. To imitate the orchestral
tremolo effect on the piano, the pianists right hand must rapidly alternate several pitches
of the chords, repeating the motion for the duration of the passage.
In the Wanderer Fantasy, Schubert applied tremolo textures many times.
Examples of this technique in the Fantasy include the following:
mm. 14-15 (Figure 3.13): both hands play rapid repetition of sixteenth
notes to imitate the effect of the strings.
Figure 3.13
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm. 14-15.
Forearm rotation is the key element for playing tremolo successfully. In order to
have effective forearm rotational movements, flexibility of the wrists and forearms is
equally essential to the pianist. To achieve similar tremolo effect as strings in this section
(Figure 3.13), arm weight should be applied from the shoulder, the arms should be
22 Don Michael Randel, Harvard Concise Dictionary of Music, (Massachusetts: The Belknap
Press of Harvard University Press, 2000), 517.
35
naturally relaxed and the movement of the wrists should be gentle and horizontal. This
avoids tight wrists blocking the effective weight transfer to the fingers. The fingers are
merely a bridge to connect the arm weight with the keyboard. Oftentimes, pianists play
the tremolo relying only on their fingers. This approach results in a slower tempo, a
mechanical sound, and soreness in the wrists after only a short period of playing.
As mentioned by Tobias Matthay23, pianists should practice this rotation slowly
to actually rock the hand from side to side for each note: a rolling or rocking movement
towards each note, after first rocking backwards. Thus pianists can impress upon their
minds the direction of the rotational help which eventually pianists have to provide
invisibly and without actual rotatory movements.
After mastering the above hand position and being comfortable with it, the pianist
should now think about overlapping of notes ( which means not completely releasing
each note when playing the next one) when playing the tremolo. Since it is essential to
play at a fast speed and properly execute the tremolo, it is almost impossible to play each
key with a complete down-and-up movement. The inability to play the tremolo as fast as
possible creates a timing issue. Furthermore, the effect of tremolo comes from the entire
phrase and not from each individual note. Thus, when pianists play the tremolo with
overlapping of notes, they actually save energy. This technique reduces the difficulty and
the tremolo effect is more successfully achieved.
23 Tobias Matthay, The Visible and Invisible in Pianoforte Technique, (London: Oxford
University Press, 1932; reprint, New York: Oxford University Press, 1947), 64-65.
http://www.scribd.com/doc/255499/The-Visible-And-Invisible-In-Pianoforte-Technique-ByTobias-Matthay-1947.
36
mm. 67-69 (Figure 3.14): the composer applies the tremolo technique
again but with different voicings of the chord to augment the crescendo.
Figure 3.14
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.67-69.
The difference between mm. 67 through 69 and mm. 14 through 15 is that the
right hand in mm. 67 through 69 keeps moving up in pitch while playing the tremolo.
Based on the special effect of the tremolo, it is possible to imagine mm. 67 through 69
being played by the strings in an orchestra. For the pianist, there is a significant
difference in technique when playing these two tremolo types. When playing the tremolo
with broken chords, the pianist needs to use not only the forearms but also the upperarms. Upper-arms provide weight and forearms provide direction in assisting the hand
movements. If a passage like Figure 3.14 is played with only finger movement, it will be
impossible for the pianist to create the tremolo in legato and for it to be powerful and
continuous in nature. Schubert even indicated a crescendo at m. 68 to make the phrase
grow to ff from the initial pp. To combine the tremolo and the crescendo, the pianist must
incorporate weight from both forearms and upper-arms to achieve the required hand
movement.
37
mm. 231-234 (Figure 3. 15): both hands play fast sixty-fourth notes with
the melodic notes presented as the lower note of each tremolo pair of
notes.
Figure 3.15
Wanderer Fantasy, D. 760, Adagio, m. 231 (first beat).
When imagining the orchestra in this passage, the entire string section could be
pictured as playing the tremolo together, with a crescendo from f to ff, followed by ffz at
m. 235, the climax of this movement (although in block chords, not in tremolo).
Forearm rotation also should be applied when playing this passage. Pianists
should follow the same practice methods as mentioned for Figure. 3.14, as well as
working on vertical intervals of melody (Figure 3.16) in a slower tempo to help the wrists
become supple and can adapt to the direction of movement.
Figure 3.16
Practice suggestion, Wanderer Fantasy, D. 760, Adagio, m. 231.
38
After developing supple wrists by the above mentioned exercise, the pianist can
start to practice Figure 3.15 in a slower tempo working to sustain the same wrist
flexibility. When practicing this way, the pianist should remember to maintain the legato
character of the melody, so that when resuming at full speed, the phrases will remain well
connected.
The other tremolo examples in the Fantasy are very similar to those already
discussed. For example, mm. 267 to 270 and mm. 297 to 298 are similar to mm. 14 and
15; mm. 678 to 688 are similar to mm. 67 to 69, but instead of staying on the same notes,
the left hand at mm. 678 to 688 moves to different notes and matches the right hand
melody line.
3.2 The Unfinished Symphony, Second

Movement: Andante con moto
Five orchestral effects used in the second movement of the Unfinished Symphony
apply to the Wanderer Fantasy.
3.2.1 Long Octave Legato Lines

Throughout the second movement, legato octave passages are found. In the piano
sketches, the long octave legato lines are played by the right hand (Figure 3.17).
Figure 3.17
Piano Sketch, Unfinished Symphony, Andante con moto, mm. 3-7.
39
Schubert wrote the legato melody for the strings from mm. 1-32 (excerpt shown
in Figure 3.18), mm. 142-157, and mm. 157-173.
Figure 3.18
Unfinished Symphony, Andante con moto, mm. 1-11.
The woodwinds play the legato melody from mm. 45-53 (Figure 3.19), mm. 186197, mm. 268-280, mm. 286-290, and mm. 296-300.
40
Figure 3.19
In the Wanderer Fantasy, a long legato octave line first appears from m. 116 to
m. 123 (excerpt shown in Figure 3.20), and m. 128 to m. 131. This is the development
section of the first movement; the right hand plays the legato melody in pp (Schubert did
not give the dynamic marking at the begining of this section, but wrote pp at one measure
before the section to establish the lyrical character) with the harmonic support in broken
chords by the left hand.
Figure 3.20
Wanderer Fantasy, Allegro con fuoco ma non troppo, mm. 116-117.
41
Since octave lines move within a larger range on the keyboard, pianists playing
these phrases need to direct their hands more by the upper arms rather than the forearms
or the wrists. Also, it is impossible to rely on the fingers to play octave legato in both
voices here; since the fingers are too short to play long octave legato lines within a large
range on the keyboard, only the arms can give octave lines the necessary direction.
Timing is another key point for playing beautiful melodic lines in octaves. If music such
as Figure 3.20 is played in perfectly strict timing, with all the correct timing of eighth
notes, it is impossible to render the melody legato and lyrical. Pianists also should not
think about timing above all other musical issues such as rhythm, tone color, and
harmony, because considering timing first will result in unexpected rubato everywhere,
and the music will lose its pulse. When pianists play octave legato lines such as in Figure
3.20, they should think of using the least amount of time to plan for the rubato; thus the
rubato will be well rendered at the proper spot and the phrase moves more fluently.
After mastering the techniques above, the final thing pianists can do to make the
octave line more beautiful is to add refined pedaling. Although pedaling can easily
change the tone color or sustain the sound, a pianists hands are more sensitive and
essential to piano playing. Accordingly, when practicing, the pianist should always use
the pedals carefully and consider them to be the last resource to be used. Although the
left hand repeats the same harmony at mm. 116 and 117 (Figure 3.20), the octave melody
in the right hand constantly creates dissonant intervals while the melody is moving
forward. If the pianist uses just one pedal for the entire two measures (mm. 116 and 117),
the sound will not be clear. To resolve this difficulty, pianists could add a half or onethird of the pedal on every first and third beats, depending on the piano and the
42
auditorium. Refined pedals will not break up the legato line in the right hand and will not
leave an obvious gap between every two beats. The same situation happens again at mm.
118 and 119, as well as mm. 124 and 125.
Further examples of long legato lines in octaves can be found in the second
movement from m. 215 (Figure 3.21) to m. 219, m. 219 to m. 222, and m. 237 to m. 242.
Figure 3.21
Wanderer Fantasy, Adagio, m. 215.
3.2.2 Wedge Staccato

In the piano sketches of the second movement of the Unfinished Symphony, from
m. 32 to m. 44, the left hand plays an eighth note every beat in staccato which is
indicated by a wedge (excerpt shown in Figure 3.22). These markings imply martellato
on stringed instruments and usually happen in louder sections. Martellato literally means
a hammered strike, an effect obtained by releasing each stroke forcefully and suddenly.
It can be played by any section of the bow and is sometimes indicated by an
arrowhead.24
24 Randel, Harvard Concise Dictionary of Music, 62.
43
Figure 3.22
A comparison with the full score of this section (Figure 3.23) reveals that
Schubert transferred the staccatos from the piano to all the strings.
Figure 3.23
Unfinished Symphony, D. 759, Andante con moto, mm. 33-44.
44
The same arrangement is used in the piano sketches in the left hand between m.
237 and m. 243 (Figure 3.24) and between m. 244 to m. 249 (Figure 3.25).
Figure 3.24
Figure 3.25
The full score from m. 237 to m. 243 shows that Schubert arranged for the violas,
cellos, and basses to play the staccatos, whereas from m. 244 to m. 249 (excerpt shown in
Figure 3.26) the composer assigned only the bassoon, trombone, and bass to play
staccatos, indicating that even with a similar musical context and articulation, the
composer did not keep the same orchestration all the time but orchestrated the musical
lines with different combinations to create varied tone colors.
45
Figure 3.26
The Wanderer Fantasy contains numerous examples of wedge staccato, the first
appearing as early as the right hand of m. 2 and 3 (Figure 3.27), with others at m. 5 and 6.
Figure 3.27
46
It seems that Schubert used this articulation to enhance the march-like character.
String players play martellato by releasing each stroke forcefully and suddenly. Thus,
when pianists try to imitate this effect, they need to apply their arms like string players
bows, energetically and efficiently. Also, string players have to play martellato with their
whole arms and the majority of the bow; pianists must play this using the whole weight
of their arms and not with the fingers alone.
Further examples of the wedge staccatos from the first movement of the Fantasy
include the right hand of mm. 16 and 17, and the downbeat of m. 133, 135, 137, and 139
(excerpt shown in Figure 3.28). In Figure 3.28, the composer wrote staccato on the
downbeat of every two measures to distinguish the articulation from staccato to legato
and to emphasize the differences between each harmony.
Figure 3.28
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.133135.
In Figure 3.28, both hands are playing ff chords with wedged staccato on the first
beat of each measure. It is conceivable to imagine these chords being played by an entire
orchestra with strings playing in martellato and winds playing with accents. In order to
avoid sounding too dry and percussive, the pianist should practice these ff chords singly
at first to get the warmest sound possible and then combine them with the subsequent
47
broken chords. When practicing these block chords alone, an effort should be made to
apply the weight from the shoulder and transfer it to the arms, wrists, and fingers. Since
the tempo is fast here, pianists will not have much time for broad arm movements while
playing. In order to effectively connect block and broken chords, a complete
understanding of the harmonic progression and efficient movement from chord to chord
is needed.
In the second movement of the Fantasy, the wedge staccato appears only in m.
234 (Figure 3.29) and m. 235 in both hands. The climactic moment in this slow
movement occurs when the composer uses staccato to differentiate the rhythm with or
without the wedge and to articulate each harmony.
Figure 3.29
Wanderer Fantasy, D. 760, Adagio, m. 234.
Due to an active rhythm and rich harmony, mm. 234 and 235 are well-suited for
the orchestras entire brass section. The pianist needs to practice these block chords with
completely relaxed arms with the hands not leaving the keyboard too far. Failing to relax
the arms when playing a dotted rhythm often slows down the tempo, and lifting the
fingers too far above the keyboard wastes time when moving between each chord.
48
The Fantasy has several examples of wedged staccato in its third movement,
which may be categorized into three types: part of the character of the theme, the main
character of the theme, and part of the accompanying figure.
In the first type, wedged staccato is a part of the character of the theme. Typical
examples are found from m. 245 through 252 (excerpt shown in Figure 3.30) and from m.
263 through 266 (Figure 3.31).
Figure 3.30
Wanderer Fantasy, D. 760, Presto, mm. 245-246.
Figure 3.31
In the second type, wedged staccato is the main character of the theme. The sole
example is from m. 299 through 302 (Figure 3.32)
49
Figure 3.32
In the third type, wedged staccato is a part of the accompanying figure. The sole
example is from m. 323 through 330 (excerpt shown in Figure 3.33).
Figure 3.33
In Figure 3.30, the wedged staccatos appear on the third beat, which is the
weakest beat in each measure. With the accent on the first beat, the first and third beats
are the two main rhythmic structural pillars of the two-bar group. Pianists should imagine
these two parts to create a vivid, bouncing, and dance-like atmosphere and figure out the
arm movements that direct the fingers to achieve them.
At m. 251 (Figure 3.34), Schubert possibly used the wedged staccato to prepare
the unexpected fz on the second beat. In order to emphasize the fz, pianists should move
their arms going up when playing the wedged staccato, physically creating a little gap
before playing the second beat. Thus, listeners will definitely notice that the composer
marked fz on the second beat.
50
Figure 3.34
Wanderer Fantasy, D. 760, Presto, m. 251.
In Figure 3.31, the wedged staccatos are marked p and two measures later
crescendo, not only indicate the bouncing quality but also create a feeling of urgency. In
the art of music, the feeling of urgency is actually established by a steady pulse. Thus
pianists, when playing this passage, should not push the tempo or shorten the third beat;
otherwise, the feeling of urgency will be reduced, especially at a faster tempo. On the
other hand, during these four measures, pianists should technically relax their thumbs
when playing the third beat to help create a sense of an upbeat and to aviod accents.
In Figure 3.32, wedged staccato is marked on every chord, with the ff marking at
m. 299. The first four measures present a ff and solid sound before the unexpected bass dflat comes in m. 303. The writing from m. 299 to 302 conveys a symphonic idea: unison
and full of orchestral sound.
When pianists play Figure 3.32, again, they need to utilize their upper body
weight to maximize the full potential sound of a piano. Full sound does not come from
playing each chord loudly, directly, and vertically into the keyboard, but rather, from the
natural and comfortable movement of this weight into the keyboard. Typically pianists
try to play each chord loudly and rapidly. This can cause tension in the arms and wrists.
This tension prevents the efficient passage of the weight from the body, through the arms,
to the hands, and, ultimately, to the keyboard. This unnatural tension is a significant
51
obstacle to the pianists efforts to draw a full sound from the instrument. To prevent this,
pianists need to attain symbiosis, a perfect balance between a full sound and a relaxed
body. Usually, practicing at half to eighty percent of tempo is a good start. Playing at
slower tempo, pianists will gradually learn how to use their bodies comfortably to
achieve a maximum sound. Because everyone is different, each pianists efforts to
achieve a maximum sound through a relaxed body will be a personal experience. When a
pianist gradually feels the body relaxing and hears a sound that is not only loud but also
full, success will be imminent.
In Figure 3.33, wedged staccato appears on the downbeat of every measure (left
hand) and is a part of the accompanying figure. The staccato here does not mean short,
but means separate. With the half note on the second beat, an appropriate separation
between the first and second beats is necessary.
The left hand in Figure 3.33 is presenting two different voices. In addition to
writing wedged staccato on the downbeat to differentiate the voices, Schubert also placed
an accent on the half-note chord to remind pianists of their timbre differences.
Although similar examples of the wedged staccato as part of the accompanying
figure do not exist in the Unfinished Symphony, given Schuberts tastes in orchestration,
the single note with wedge staccato could very likely be played by low-pitched wind
instruments, the half-note chord with accent by high-pitched wind instruments, and the
melody in the right hand by strings. In order to imitate the effect of the orchestra, when
playing the bass notes, pianists need to apply arm weight together with a gentle
placement of the fifth finger to make the sound as round and lively as if played by low
52
wind instruments. This vigorous accompaniment should be rendered completely
differently from the lyrical melody in the right hand.
At the end of the Fantasy, from m. 711 to 715, the staccato appears again (excerpt
shown in Figure 3.35). Together with fff, the staccato has a similar function to that at
mm. 133, 135 (Figure 3.28), 137, and 139. At the end of the piece, the fff chords with the
staccato burst forth with the strongest power in the entire composition.
Figure 3.35
Wanderer Fantasy, D. 760, Allegro, mm. 711-712.
3.2.3 Dot Staccato

Unlike the wedge staccato, the dot staccato is written as either a true dot or a
short horizontal stroke. Earlier composers such as Carl Philipp Emanuel Bach (17141788), Joseph Haydn (1732-1809), and Beethoven, normally indicated staccato with a
wedge, reserving the dot for a less forceful staccato (portato)25 occurring principally in
slow movements.26
25 Portato: A manner of performance halfway between legato and staccato. In string playing,
notes so played are taken in a single bow stroke. (Don Michael Randel, Harvard Concise
Dictionary of Music, (Massachusetts: The Belknap Press of Harvard University Press, 2000),
398.)
26 Randel, Harvard Concise Dictionary of Music, 480.
53
In the piano sketches of the Unfinished Symphony, examples of the dot staccato
are found in the second movement in the left hand of mm. 1 and 2 (Figure 3.36), 154,
155, and 190.
Figure 3.36
Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm. 1-2.
These measures are where the composer wrote dots in the sketches; these
sketches, however, are not the only places where performers should play staccato. As is
mentioned on p. 24, Schubert frequently added the markings only for the first few bars of
a passage but not for every note in the phrase. Thus, performers should read the music
carefully and refer to similar musical phrases when considering the articulations in
preparation for a performance.
A good example of this difference is evident when comparing the sketches and
the full score of the Unfinished Symphony from m. 1 to m. 9 in the second movement. In
the sketches of these measures (Figure 3.37), the composer only wrote the dot in the first
two measures, not for m. 7 to 9 where the same phrase appears again. However, in the
full score (Figure 3.38), the dot is indicated in both m. 1 to 3 and m. 7 to 9.
54
Figure 3.37
Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm. 1-9.
Figure 3.38
55
When thinking about interpreting these dots in this lyrical movement, performers
must understand that although the composer wrote pizz. at m. 1, based on the tempo
(Andante con moto) and the character of this movement, the dots are intended to be
performed with a rich, warm sound instead of a sharp, percussive manner.
The dot staccato only appears in the second and third movements of the
Wanderer Fantasy, and most of them are in the second movement from m. 210 through
230. The first example of the dot staccato appears at m. 210 in the second movement
(Figure 3.39).
Figure 3.39
In Figure 3.39, the melody is separated between the two hands. In order to make
the melody move forward, pianists need to listen to the whole phrase rather than to each
chord. Therefore, I believe, Schubert did not write wedges here to break the melodic line
but wrote dots to separate each chord, at the same time keeping the continuity of the
phrase and its vivid character.
With this aforementioned observation in mind, Liszt, when arranging the Fantasy
to a piano and orchestra work in 1851, assigned the entire string section to play the
original left hand part. The solo pianist plays the right hand part. An agitato is indicated
for both strings and piano (Figure 3.40). To maintain the melodic line, the strings should
play this passage with portato articulation.
56
Figure 3.40
Liszt, Wanderer Fantasy for Piano and Orchestra, Adagio, m. 210-212.
To imitate the orchestral portato when playing Schuberts Wanderer Fantasy,

pianists should not forget that there is an f on the downbeat at m. 210 and should apply
more weight from the upperarms to generate a thick and rich sound. In addition, in
carefully voicing the melody of the top lines of both hands, pianists should relax their
thumbs to create a warmer middle voice. By doing so, the middle voice will not only
support the melody on the top but also provide a richer tone to the chord.
57
The dot staccato returns in m. 215 (Figure 3.41) through m. 218. The pp marking
and the left hands dot staccato here create a situation quite different from four measures
before, although the markings look exactly the same. The staccato in the left hand
between m. 215 and m. 219 is more like a pizzicato played by cellos and basses. With a
slow tempo, a lyrical character, and broken-chord figuration in the same hand, these
staccato notes have to be light but still strong enough to carry the harmonic progression.
Technically speaking, transferring more whole-arm weight to the left side of the hand
will be helpful in playing passages like this.
Figure 3.41
Dot staccatos from mm. 219 (Figure 3.42) to 222 are presented in another way.
The dots here appear above the middle voice in the left hand and present the secondary
melody. Based on the pitch range, this secondary melody could be assigned to the viola if
it were played by an orchestra or a string sextet. Furthermore, the main melody in the
right hand octave could be played by the first and second violins, and the bass notes by
the cello and double bass. With this interpretation in mind, pianists should search for the
best possible balance among all six voices. To play the secondary melody appropriately,
58
the pianist should relax the left hand thumb, lead it with the forearm, and know the
harmonic progression of the line in advance.
Figure 3.42
From m. 223 (Figure 3.43) through m. 226, the staccato is marked on each
sixteenth note of the left hand except for the first sixteenth note of each beat.
Because of the slow Adagio tempo, pp (the last dynamic marking since m. 215),
and the broken chord figurations in the left hand, the staccato here, again, implies a
pizzicato by the lower strings. The left hands staccato is similar to that of the double
bass from m. 13 to m. 15 of the second movement of the Unfinished Symphony. In the
piano sketches of the same section, Schubert had the left hand play staccato (Figure
3.44). Based on the piano sketchs indication of pizz. at the beginning of the movement
and the staccato notes in the left hand at m. 13 and m. 14, the composer indeed
transferred the same idea to the double bass in the full score (Figure 3.45).
59
Figure 3.43
Figure 3.44
Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm. 1315.
Figure 3.45
60
One can visualize that the left hand in Figure 3.43, therefore, could be played by
the cello and double bass in pizzicato in the orchestra. Due to the wide range of the
broken chords, (the narrowest interval here is on the downbeat of m. 223 and 224, a tenth,
from C# to e#), pianists need to use more upperarm to lead the hand to the respective
notes instead of reaching for notes with each finger alone. The bass notes need the most
arm weight to create a warm sound, while the continued staccato notes are reached by the
movement of the arm. This eliminates unnecessary stretches that cause stress and tension
in the hand. A more relaxed hand enables the pianist to create a tone of richer and more
rounded quality, which, when compared to the typical pianistic sound, is much closer
to the rich quality of a bass string sound. Again, knowing the harmonic progression
before playing each note is a desirable mental practice for pianists. It is like giving
pianists an intellectual map. They will not only play the right notes, but always anticipate
the different colors of each harmony.
The last dot staccato in the second movement occurs from m. 227 (Figure 3.46)
through m. 230.
Figure 3.46
61
The left hand plays staccato on the first note of every half beat. The staccato bass
notes imply a pizzicato by the bass strings in the orchestra. The pianists supple fifth
finger is needed here for giving the other voices solid support.
In the third movement of the Fantasy, the dot staccato only appears in the left
hand from m. 331 through m. 338 (excerpt shown in Figure 3.47) and from m. 413
through m. 420. Since the latter passage is the same as the former passage but in a
different key, this essay will discuss only the former one.
Figure 3.47
The staccatos in Figure 3.47 are actually very similar to those in Figure 3.41, but
this time at a much faster tempo, Presto. Based on the same principles as before, this
writer believes the staccato notes here could be played by the bass in pizzicato in the
orchestra. And again, a supple fifth finger in the left hand is needed here. In order to
move correctly from the first note to the second note, pianists have to practice attaining
the shortest distance between the two without lifting the hand away from the keyboard.
Both a relaxed wrist and proper knowledge of the harmonic progression will aid the
pianist in playing the broken chords easier and faster.
62
3.2.4 Rapid Notes Used as an Accompaniment

In the piano sketches of the symphonys second movement from m. 103 to m. 110
(excerpt shown in Figure 3.48), the middle voice (later in the bass voice in mm. 109 and
110) presents rapid thirty-second notes. This long running-note line is both harmonic
support and rhythmic contrast to the melody, which is played by eighth notes in the upper
voice.
Figure 3.48
Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm. 103105.
The thirty-second notes are played by the second violin, viola, and oboe in the full
score (Figure 3.49).
63
Figure 3.49
The same arrangement happens again from m. 250 to 251 and m. 254 to 255, but
Schubert uses a different orchestration from the previous one, with the rapid notes this
time played by the bassoon, viola, cello, and bass.
In the Fantasy, the clearest example of rapid notes used as an accompaniment is
from m. 227 (Figure 3.50) through m. 230.
64
Figure 3.50
In this passage, the right hand plays rapid sixty-fourth notes to accompany the
hidden melody, which is in the upper voice of the left hand. Based on the comparison
between Fgure 3.48 and Figure 3.49, the right hand in Figure 3.50 could be imagined as
played by a high-pitched woodwind or violins in an orchestra.
In order to recreate the similar effect on the piano, pianists should first practice
minimizing their finger movements, trying to direct the fingers with the whole arm and
not just with independent individual fingers. Less finger movement will also facilitate a
faster tempo. Pianists often complain that they cannot meet the requirement of this fast
tempo. They waste too much time playing the piano with their fingers lifted too high
away from the keyboard, by having too much finger or arm movement. The excess
movement actually takes the fingers away from the keyboard. In addition, when pianists
have less finger movement away from the keys, evenness in tone quality becomes easier
to achieve. When the right hand plays Figure 3.50 with minimized finger movement, each
note is played essentially by the upper arm, with a constant distance from the shoulder to
the keyboard. The different lengths among fingers become less obvious, and the evenness
in tone quality gradually improves.
65
Other examples of rapid notes used as an accompaniment in the Fantasy appear in
the right hand from m. 83 through m. 89 (excerpt shown in Figure 3.51) and its
counterpart in the left hand from m. 90 through m. 96; in the right hand from m. 631
through m. 639; in the left hand from m. 641 through m. 648; and in the right hand from
m. 659 through m. 667.
Figure 3.51
In Figure 3.51, the right hand plays the descending scales twice in the first four
measures and then begins to sequentially move up on every beat. Based on the
observation of the Unfinished Symphony, these right hand rapid notes could be conceived,
again, as transformations of high-pitched woodwinds or violins. When playing the
descending scales, the pianist needs to be certain that the thumb does not create an
unintended accent. Among the five fingers, the thumb is the most unique; it is shorter and
stronger than the other digits. Due to these differences, it is easier to play loudly with
ones thumb. When playing with all fingers, the thumb often creates an uneven sound. To
avoid this situation, pianists have to practice relaxing the thumb first; the thumb does
need weight to support itself and stand naturally on the keyboard, but any weight
beyond this purpose is not necessary. Just pressing a single key with the thumb and
66
seeing how relaxed it can be and listening to the different sounds between a relaxed
thumb and a tense thumb is an effective practice tool. This kind of practice will not
generate an immediate result. Through repetition over time, the pianist will gradually
learn to relax the thumb and gain awareness of the level of the relaxation through the
quality of the sound. After this exercise, the pianist should practice the scale slowly and
check for the evenness of the sound. Evenness is generally related to the balance between
the thumb and the other fingers.
Another example of rapid notes used as an accompaniment occurs from m. 631
through m. 639 (excerpt shown in Figure 3.52) of the Fantasy. The right hand
accompanies the left hands octave melody with arpeggios.
Figure 3.52
The arpeggio here is divided into ascending and descending parts every two
beats. To play it more fluently and imagine imitating the sounds of strings or woodwinds,
the pianist must have the appropriate upper-arm weight applied during the interval
between the second and third beats. By doing so, the hand has a greater opportunity to
move freely and is less likely to tighten up. In addition, by marking an fz on the third beat
of each measure, the composer indicated his intention for the sound quality desired;
proper arm-weight techniques facilitate this passage. Pianists may practice combining the
67
first two beats and the first note of the third beat to experience how to transfer the arm
weight from the ascending arpeggio to the top note (the first note of the third beat) of the
descending arpeggio. Once the weight transfer is felt when playing that top note, practice
with the entire descending arpeggio may be incorporated. Pianists should remember that
when playing the descending arpeggio, the notes still need to be played using the arm and
not by the fingers alone. This is mentioned because it is actually easier to play the
descending arpeggio than the ascending one using just the fingers and not the entire arm.
Doing so would result in a harsh sound and a possible hand injury over time.
The left hand takes the rapid notes to accompany the right hand melody from m.
641 through m. 648 (excerpt shown in Figure 3.53). With a finger crossing (the second
finger has to cross the thumb quickly on every first and third beat), this eight-measure
passage is much more difficult than it looks.
Figure 3.53
In the same passage, Liszt had the right hand, instead of the left hand, play the
sixteenth-note part in his concerto version of the Fantasy (Figure 3.54).
68
Figure 3.54
Liszt, Wanderer Fantasy for Piano and Orchestra, Allegro, mm. 641-642.
Based on the low pitch and the fast-moving notes in the left hand part in Figure
3.53, the orchestration can be viewed as playing of the cello or bassoon. In order to
achieve the fluency of the cello or bassoon, the pianist must have the left hand function
akin to the string players bow or the woodwind players air. Three effective practice
suggestions for the left hand that can be applied are as follows:
69
First, for practice purposes, add a small accent on the third note of the first and
third beats, which is where the second finger crosses the thumb. After doing so, the hand
comes back to the normal position on the next beat due to its natural weight response, and
the fingers then have extra weight to press the keys, thus avoiding any unnecessary finger
movement. Less finger movement results in a greater fluency for the phrase.
Second, practice the first beat as written but the second beat as a block chord
(Figure 3.55).
Figure 3.55
Practice Suggestion, Wanderer Fantasy, D. 760, Allegro, m. 641.
Due to finger crossing in the first beat, the pianist cannot play it as a blocked
chord. Playing the second beat as a block chord, however, will provide a valuable insight
into both the harmony and the hand position. After the pianist practices this technique for
a period of time, both mind and hand will be prepared to play this passage in its original
tempo. Once the pianist is more comfortable with the music, an awkward note-by-note
style of performance is easier to avoid, and the music will be performed in a more fluent
manner.
Third, practice the entire passage as written with a much slower tempo to make
sure that the fingers motions are minimized. This exercise will not manifest its results as
quickly as the two previous exercises; however, practicing this passage at a slower tempo
70
will gradually provide the pianist with a more successful way to use the fingers. After a
reasonable period of practice, the pianist eventually will develop the skills to play this
passage in the original intended tempo.
The right hand plays a fast-moving counterpoint figure to support the left hand
from m. 659 through m. 667 (excerpt shown in Figure 3.56).
Figure 3.56
Based on the thick texture, this nine-measure phrase presents a dazzling orchestral
sound: a theme in octaves by a solid bass and a rapid counterpoint figure by high-pitched
strings or woodwinds in sixteenth notes.
In this passage, the ff and fast tempo often cause the pianists right hand to have
certain difficulties. In addition, Schubert also incorporated many dramatic skips within
the fast-moving broken-chord patterns, presenting the pianist with an extremely tiring and
difficult musical phrase to perform. Finally, because this passage occurs toward the end
of the twenty-two-minute piece, further complications could arise here as well for the
inadequately prepared pianist. These aforementioned challenges make this passage
arguably one of the most difficult to play in the entire work.
71
Liszt probably also sensed these difficulties when he worked on his concerto
version of the Fantasy. He arranged this passage for both strings and piano (Figure 3.57)
with the entire string section playing the main melody (originally in the left hand of
Schuberts piano solo version) and the pianist playing the fast-moving notes (originally in
the right hand of Schuberts piano solo version). The fast-moving notes are distributed so
that they are played by both hands in octaves. As a result, when a concerto soloist plays
this passage, it is much easier to play successfully than the original version.
To play Figure 3.56 correctly, the pianist must learn to effectively control and
utilize upper-arm weight. In order to have the right hand play all the sixteenth notes
freely, the pianist needs to have a relaxed forearm and allow the upper-arm to provide
both weight and direction to the hand and fingers. In addition, a relaxed wrist is also an
essential element for playing Figure 3.56 effectively. A relaxed wrist is not only a major
factor in the arms motion but it also facilitates effective weight transfer to the fingers.
Three practice steps illustrated by the authors teacher, Prof. Uriel Tsachor, may be used
to gradually achieve this essential hand, forearm, and upper-arm coordination:
72
Figure 3.57
Liszt, Wanderer Fantasy for Piano and Orchestra, mm. 659-661.
Step 1: Practice the first two sixteenth notes at m. 659 slowly, feeling the weight
transferring from the left side of the wrist to the right side through the half circle
motion of the wrist. This exercise will discourage the pianist from using the little finger
to reach the high C (c3) on its own through stretching and will avoid the subsequent wrist
73
tension that this motion produces. The first two sixteenth notes at m. 661 and m. 665
provide an additional opportunity for this exercise.
Step 2: Practice octave leaps in the second half of m. 659 (Figure 3.58) to feel the
weight shifting between the left and the right sides of the wrist. This exercise is very
similar to Step 1, but this time, it requires a back and forth type of weight-transfer leap
rather than the single weight transfer in Step 1. Pianists may practice one octave leap at a
time in order to acquaint themselves with the weight shifting, gradually increasing the
number of leaps executed consecutively.
Figure 3.58
Practice Suggestion, Wanderer Fantasy, D. 760, Allegro, m. 659.
Step 3: After successfully mastering Steps 1 and 2, the pianist should apply the
same technique to every measure from m. 659 through m. 667, except for the first two
beats of m. 663 and m. 664 (Figure 3.59).
Figure 3.59
74
These first two beats differ in that the thirds in these two places occur in a lower
range than the rest of the phrase. This difference results in a new difficulty for the pianist.
When playing here, the pianist needs to not only rearrange the hand position to a new
mold, but also to solve the problem caused by the shortness of the thumb and the index
finger. This physical configuration causes more difficulty in playing these at the required
speed. To resolve this difficulty, the pianist needs to work on these two spots slowly and
step-by-step. Essentially, the pianist should repeat Steps 1-2 mentioned above, paying
more attention to the wrist, using it to lead the hand to counter the effects caused by the
shorter fingers required to play the intervals here.
When the pianist masters the passages in Figure 3.56, these passages bring
excitement and brilliance to the performance. Meanwhile, by application of the necessary
techniques, right-hand fatigue from rapid running notes is minimized.
3.2.5 Phrases Containing Parallel Fortissimo Octaves

In the piano sketches of the Unfinished Symphony, there are two places where
Schubert applied octaves in fortissimo in several measures to bring out the melody. They
are in the right hand from m. 96 through m. 102 (excerpt shown in Figure 3.60) and from
m. 237 through m. 243 (excerpt shown in Figure 3.61).
Figure 3.60
75
Figure 3.61
In Figure 3.60, if the ff octaves are played in a straightforward pianistic way,

which means attacking the keys in a very vertical manner, the sound will be very harsh.
Thus, these octaves imply the unison of string or wind instruments. In the full score, this
phrase is played by first and second violins (Figure 3.62).
Figure 3.62
76
In the second example (Figure 3.61), because the pianos sound decays as soon as
the keys are pressed, the long line in ff octaves is more likely to be played by woodwinds
and strings; these instruments can easily sustain the sound. In the full score, the composer
assigned the upper melody in mm. 237-243 to be played by the entire orchestra except for
the lower instruments, which play the syncopated rhythm to support the upper melody
(excerpt shown in Figure 3.63).
Figure 3.63
Unfinished Symphony, D. 759, Andante con moto, mm 237-240.
77
The parallel fortissimo octaves occur several times in the Wanderer Fantasy, and
wherever they appear, these thick textures transfer an orchestral sound to the piano.
Relevant examples may be found in multiple places throughout the piece.
left hand from m. 83 through m. 89
right hand from m. 90 through m. 93
Due to the similarity among these examples, this essay will discuss two
representative examples, from m. 152 through m. 161 and from m. 623 through m. 635,
as they present two slightly different types of examples.
The left hand continually plays the transformation of the main theme in ff
(Schubert wrote ff at m. 132) and octaves in the Fantasy from m. 152 through m. 160
(excerpt shown in Figure 3.64).
Figure 3.64
Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm. 152154.
78
Based on this broad writing, this writer concludes that Schubert is pursuing an
orchestral sound in this passage. Indeed, Liszts concerto version in the same passage
(Figure 3.65) reveals that he arranged the entire string section to play the left hand part of
the original piano score while the concerto soloist plays the right hand part of the original
solo piano score in octaves.
Figure 3.65
Liszt, Wanderer Fantasy for Piano and Orchestra, Allegro con fuoco ma
non troppo, mm. 150-152.
79
When the pianist plays Figure 3.64, due to the repeated movement patterns, the
left hand has to be controlled by the upper arm and move with agility; otherwise, the
hand will become tense. In addition, a down-exertion of the forearm is needed to provide
more weight to the hand and to achieve the ff sound. As Matthay mentioned27: The main
secret of producing large tone without harshness lies in this down-exertion of the forearm
in conjunction with a free upper-arm.
The pianist should try to practice the left hand slowly and feel the coordination of
the forearm and the upper arm. By doing so, when the hand plays the octaves, the pianist
will gradually become accustomed to relying on the arm rather than the fingers. At the
same time, the wrist will relax, and this should help alleviate tension. A rich and warm
orchestral sound will develop, stemming from the use of the upper arm.
3.3 Other Orchestral Elements from the Full Score of the

First Movement of the Unfinished Symphony
Although the extant piano sketches of the Unfinished Symphony begin at m. 249
of the first movement, several orchestral elements between m. 1 and 248 from the full
score are still present.
3.3.1 Contrasting Orchestral Textures in Different Instruments

Schubert wrote different orchestral textures for different instruments in the same
measures to create contrasting atmospheres. The first example of this style of writing in
the Unfinished Symphony appears within the first theme of the first movement from m. 9
27 Ibid, 37.
80
through 29 (excerpt shown in Figure 3. 66). Violins play rapid sixteenth notes in pp to
produce a mysterious atmosphere, while an oboe and a clarinet play the first theme four
measures later, also in pp, but with much longer notes to establish a contrast with the
violin accompaniment.
Figure 3.66
The most obvious examples of contrasting orchestral textures in different

instruments may be found from m. 206 through m. 209 (excerpt shown in Figure 3.67)
and from m. 236 through m. 244 in the Fantasy.
In Figure 3.67, the right hand plays the motif from Der Wanderer, and the left
hand plays tremolos in thirty-second notes, evoking two different orchestral instruments.
This example is very similar to the first movement of the Unfinished Symphony.
81
Figure 3.67
Wanderer Fantasy, D. 760, Adagio, mm. 206-207.
Liszts concerto version also corroborates this orchestral writing style. He

arranged the clarinets, bassoons, and the entire string section to perform the motif while
the soloist plays the tremolo with both hands (Figure 3.68).
Figure 3.68
Liszt, Wanderer Fantasy for Piano and Orchestra, Adagio, m. 206.
82
In order to let the two hands present two contrasting timbres at one time, the
pianist needs to consider varied mental and physical processes essential for correct hand
usage and respective sound. Figure 3.67 requires that the pianist presents the same
rhythmical shaping as at the beginning of the movement. When the Der Wanderer theme
repeats, the audience will have a sense of thematic continuity, no matter what type of
accompaniment is being played. A challenge for the pianist is to maintain the same
tempo, or pulse, when the theme reappears. Pianists should practice the right hand alone
in this section, keeping in mind the same pulse that occurs in the beginning of the
movement and then checking the tempo by playing the beginning phrase again to ensure
that the music maintains the same flow.
Figure 3.67 also requires that the left hand sound like the tremolos played by the
low strings. Minimizing the movement of the fingers will help the pianist significantly to
imitate the sound of the subtle vibrations string players create when playing tremolo. The
practice method for tremolo presented in 3.1.2.
Another example of representing two instruments simultaneously occurs in the
Fantasy from m. 236 through m. 244 (excerpt shown in Figure 3.69). Based on the
example from the first movement (from m. 9 through m. 29) of the Unfinished Symphony,
one could easily imagine this passage as an orchestral setting with the left hand notes
being played by lower strings and the right hand notes being played by high woodwinds
or violins.
83
Figure 3.69
Wanderer Fantasy, D. 760, Adagio, mm. 236-237.
Liszt, in the piano concerto version of the Fantasy, had the pianist play the fast
moving notes (which are in the left hand of Schuberts original solo version) and assigned
the flute and violins to carry the theme (Figure 3.70).
Figure 3.70
Liszt, Wanderer Fantasy for Piano and Orchestra, Adagio, m. 237.
84
When practicing Figure 3.69, the pianist can follow the exercises below in order
to make the fast-moving notes in the left hand as fluent as when played by the strings:
First, the pianist should practice relaxing the thumb as much as possible. Once
more, a relaxed thumb will save the pianist a significant amount of energy. When playing
fast, the left hand will only need to take care of the lower moving part (which is played
by the second, third, and fifth fingers) while the relaxed thumb will have minimal
movement, responding only to the rotation of the forearm. This manner of playing has the
hand moving from side-to-side with a loose and relaxed approach to the keyboard.
Second, the pianist should practice every two sixty-fourth notes as an interval
(Figure 3.71) to accustom the hand to the harmonic progression and the distance demands
these intervals create.
Figure 3.71
Practice Suggestion, Wanderer Fantasy, D. 760, Adagio, m. 236.
This exercise will familiarize the pianist with the left-hand phrase in an effective
fashion; in addition, this exercise encourages the pianist to play responsively with a
supple wrist. A relaxed, supple wrist will conserve the pianists energy when playing a
tiring passage like this. After practicing the left hand for a period of time, the pianist may
go back to play this passage as written, and then will discover that very little weight is
85
actually needed to support the hand comfortably while performing this fast-tempo
passage.
Third, practice m. 238 and m. 241. The lower moving part in these two measures
goes from lower to higher notes. This is in direct contrast to the preceding m. 236 and the
first two beats of m. 237, where the lower moving part goes from higher to lower notes.
The transition from descending notes to ascending notes requires an immediate response,
especially with such a fast-tempo passage. Therefore, practicing these measures
separately is advisable and will make the pianist more confident with the transition when
performing the entire passage.
The right hand in Figure 3.69 needs to be played extremely legato, especially at
mm. 238 and 241 where Schubert indicated it with a slur. It is impossible to rely
completely on the fingers to play legato here. In order to achieve the best possible legato
the pianist needs to support the finger with horizontal, hand-and-arm direction while
avoiding any accent resulting from the hands moving between white and black keys.
Judicious pedaling is the final element of this practice sequence. Using a half pedal
technique can help the pianist as well. Any point beyond half-pedaling is unnecessary
and will blur the tremolo in the left hand.
3.3.2 Repeated Phrases Played by Different Instruments

From m. 73 to 85 of the first movement of the Unfinished Symphony (excerpt
shown in Figure 3.72), Schubert had different string instruments repeating the same
rhythmic figures. These phrases were designed as conversations among the various
orchestral sections; the composer used the respective differences in pitch and tone quality
of the instruments to create inflection within the melody.
86
Figure 3.72
Similar examples can be found from m. 94 through m. 104 (excerpt shown in

Figure 3.73) and from m. 122 through m. 133 (excerpt shown in Figure 3.74) of the first
movement of the Unfinished Symphony. In Figure 3.73, the motif of the second theme
occurs among violins (first and second, respectively), cello, flute, and oboe. Schubert
used these different instruments to create a rich orchestral color before the end of the
exposition. The same technique appears again later at the end of the recapitulation (from
m. 312 through m. 322).
87
Figure 3.73
Unfinished Symphony, D. 759, Andante moderato, mm. 94-101.
In Figure 3.74, the repeated phrase happens between violins, bassoon, and viola.
The phrase derives from the beginning of the first movement (from m. 1 through m. 4)
and is presented by overlapping the phrases; through the overlap, the music gradually
increases in intensity from pp to f.
88
Figure 3.74
Unfinished Symphony, D. 759, Andante moderato, mm. 122-131.
Other similar but shorter examples appear in the second movement: m. 231
through 236 and m. 258 through 268. From m. 231 through 236 (Figure 3.75), clarinet,
oboe, and flute play the same two-measure phrase in order, but bring the dynamic from f
down to ppp. Schubert used different tone colors and dynamics among instruments to
create different layers within the same melody. From m. 258 through 268 (excerpt shown
in Figure 3.76), the melodic phrases alternate between woodwinds and strings, becoming
conversations between the different instruments.
89
Figure 3.75
90
Figure 3.76
Unfinished Symphony, D. 759, Andante con moto, mm.258-265.
In the Wanderer Fantasy, a similar technique appears from m. 458 to m. 470

(excerpt shown in Figure 3.77). The left hand begins the first phrase at the second half of
m. 458 and soon is answered by the right hand at the second half of m. 461; the same
pattern repeats twice after that, each time with slightly varied pitches that lead to an
unexpected key and color change in G-flat major at m. 469.
91
Figure 3.77
Liszt also sensed the repeated phrases in this passage and arranged an orchestral
conversation among different instruments (Figure 3.78): cello and bassoon begin the
conversation at m. 458 and are answered shortly by the piano at m. 461. This same
pattern is repeated two more times until the horn joins the conversation in G-flat major
with a long pp note at m. 467.
Figure 3.78
Liszt, Wanderer Fantasy for Piano and Orchestra, Presto, mm. 458-466.
When the pianist plays Figure 3.77, the left hand should be viewed as a cello or
bassoon playing the descending scale lines extremely legato as Liszt orchestrated in his
concerto version of the Fantasy. It is impossible to rely solely on the fingers to play the
octave legato line here, especially since the line includes many octaves. The best solution
92
for the pianist playing legato here is to lead the left hand by using the upper arm. Moving
the hand as horizontally as possible helps to prevent accents when moving between the
white and black keys. Like other legato passages discussed before, refined pedal is the
last step for the pianist to achieve legato octaves. The right hand at mm. 461, 465, and
469 has to deliver the same legato quality as the left hand. These repeated phrases (from
m. 458 through m. 470) overlap or interrupt each other. To play the right hand with ideal
timing (m. 461), the pianist should prepare for the right hands entrance when beginning
the left hands entrance (m. 458); the same thing happens at the left hands second
entrance (m. 462), where the pianist has to anticipate this phrase when starting the right
hand at the previous measure. Similar repeated phrases happen at the third entrance of the
both hands (left hand at m. 466 and right hand at m. 469). As a result of this repetition, if
the two lines blend together well, the entire passage (mm. 458 through 470) will resemble
a musical conversation.
93
CONCLUSION
Many pianists experience various technical difficulties when practicing the
Wanderer Fantasy. The comparison between the Unfinished Symphony and the Wanderer
Fantasy points to the fact that the Fantasy is significantly influenced by the composers
symphonic writing. Therefore, the difficulties the pianist experiences when performing
the Fantasy originate in Schuberts writing of orchestral textures to be performed on the
piano.
In addition, a rich piano sound, absent when only fingers are involved in playing,
is only achievable when the appropriate application of arm weight control is employed;
this technique allows the pianist to better interpret and express the musical meaning
embedded in an orchestrally-conceived score such as the Fantasy. This is also supported
by the comparison to and understanding of Liszts adaptation of the Wanderer Fantasy,
as discussed in the body of the essay.
The musical and technical suggestions in the essay are constructed based on the
authors personal experience of performing the Wanderer Fantasy. It is the hope of the
author that all the suggestions outlined above will benefit potential performers such that
they may arrive at a more meaningful and higher artistic level during performance of the
Fantasy.
94
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The orchestral elements in Franz Schubert's

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THE ORCHESTRAL ELEMENTS

An essay submitted in partial fulfillment

Der Wanderer, D. 489, mm. 23-24. ............................................................10

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, m. 1. .........10

Wanderer Fantasy, D. 760, Adagio, m. 189. ..............................................10

Wanderer Fantasy, D. 760, Allegro, m. 598. ..............................................11

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.

Wanderer Fantasy, D. 760, Presto, mm. 245-246. ......................................13

Wanderer Fantasy, D. 760, Adagio, m. 236. ..............................................13

Piano Sketch, Unfinished Symphony, D. 759, Allegro moderato, mm.

Unfinished Symphony, D. 759, Allegro moderato, mm. 249-251. ..............26

Piano Sketch, Unfinished Symphony, D. 759, Allegro moderato, mm.

Unfinished Symphony, D. 759, Allegro moderato, mm. 281-284. ..............27

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.

Piano Sketch, Unfinished Symphony, Allegro moderato, mm. 285288. ..............................................................................................................32

Unfinished Symphony, D. 759, Allegro moderato, mm. 285-288. ..............32

Piano Sketch, Unfinished Symphony, Allegro moderato, mm. 303309. ..............................................................................................................33

Unfinished Symphony, Allegro moderato, mm. 303-309 (all strings

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo,

Wanderer Fantasy, D. 760, Adagio, m. 231 (first beat)..............................37

Practice suggestion, Wanderer Fantasy, D. 760, Adagio, m. 231. .............37

Unfinished Symphony, Andante con moto, mm. 1-11. ................................39

Unfinished Symphony, Andante con moto, mm. 45-53. ..............................40

Wanderer Fantasy, Adagio, m. 215. ...........................................................42

Unfinished Symphony, D. 759, Andante con moto, mm. 33-44. .................43

Unfinished Symphony, Andante con moto, mm. 244-248. ..........................45

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo,

Wanderer Fantasy, D. 760, Adagio, m. 234. ..............................................47

Wanderer Fantasy, D. 760, Presto, mm. 245-246. ......................................48

Wanderer Fantasy, D. 760, Presto, mm. 263-266. ......................................48

Wanderer Fantasy, D. 760, Presto, mm. 299-303. ......................................49

Wanderer Fantasy, D. 760, Presto, mm. 323-327. ......................................49

Wanderer Fantasy, D. 760, Presto, m. 251. ................................................50

Wanderer Fantasy, D. 760, Allegro, mm. 711-712. ...................................52

Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm.

Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm.

Unfinished Symphony, D. 759, Andante con moto, mm. 1-8. .....................54

Wanderer Fantasy, D. 760, Adagio, m. 210. ..............................................55

Wanderer Fantasy, D. 760, Adagio, m. 215. ..............................................57

Wanderer Fantasy, D. 760, Adagio, m. 219. ..............................................58

Wanderer Fantasy, D. 760, Adagio, m. 223. ..............................................59

Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm.

Unfinished Symphony, D. 759, Andante con moto, mm. 13-18. .................59

Wanderer Fantasy, D. 760, Adagio, m. 227. ..............................................60

Wanderer Fantasy, D. 760, Presto, mm. 331-334. ......................................61

Piano Sketch, Unfinished Symphony, D. 759, Andante con moto, mm.

Unfinished Symphony, D. 759, Andante con moto, mm. 103-105. .............63

Wanderer Fantasy, D. 760, Adagio, m. 227. ..............................................64

Wanderer Fantasy, D. 760, Allegro con fuoco ma non troppo, mm.

Wanderer Fantasy, D. 760, Allegro, mm. 631-633. ...................................66

Wanderer Fantasy, D. 760, Allegro, mm. 641-642. ...................................67

Practice Suggestion, Wanderer Fantasy, D. 760, Allegro, m. 641. ............69

Wanderer Fantasy, D. 760, Allegro, mm. 659-661. ...................................70

Practice Suggestion, Wanderer Fantasy, D. 760, Allegro, m. 659. ............73

Wanderer Fantasy, D. 760, Allegro, mm. 663-664. ...................................73

Unfinished Symphony, D. 759, Andante con moto, mm. 96-100. ...............75

Unfinished Symphony, D. 759, Andante con moto, mm 237-240. ..............76