The entire work is pervaded by a sense of restlessness full of constantly shifting moods, daring modulations and the exploitation of the complete range of the contemporary piano, with the hands often in widely contrasting registers, a particularly strong colouristic effect on a period instrument. And yet, as Einstein points out, it is structurally coherent, falling into several clear sections, with the second Adagio recalling the first.
While this sense of clearly mapped-out sections—equally evident in the other C minor work here—may owe something to the fantasias of CPE Bach, that is where the similarity ends. In scope and depth of mood Mozart looks far into the future, to Liszt, perhaps even on to Busoni. It is hardly surprising that there were at least three orchestral versions made of K475 early in the nineteenth century, so potent are its colouristic effects.
from notes by Harriet Smith © 2008
Fantasia in C minor K475 [11'32]
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|Edwin Fischer (piano)|
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