Fantaisie

Finally, I got this piece finished. It is a real challenge for the pianist. It is difficult, but not awkward or impossible to play.

Although I have revised the score several times, there may still be some errors and room for minor improvements.

The notation of some of the left hand runs could be divided between the staves, but I think that the pianist will intuitively utilize both hands, if this facilitates playing.

I included the pedal settings, which I used in the playback. This is may be not something to include in a published score (apart from the cases where it is absolutely necessary), but it gives you a rough idea how I produced the (electronic) playback.

I would be most interested to know what you think of it, and any critical remarks and/or suggestions for improvements etc.is greatly appreciated.

Hi @panta rei,

The key scheme for using Eb minor, B major and Ab major reminds me of Schubert’s Eb minor piece in his three pieces. The first Eb minor section and the chordal B Major section reminds me even more that of that piece, but later I think other composers starts showing their influence, like b.46 Ab major section is like Bee’s Tempest Sonata 3rd movement, b.108 becomes more Chopinistic with the revolutionary-etude like accompaniment. I like the variety in the piece. Except in b.150 a Ritenuto will be needed to play that octave in right hand. 
 

Thx for sharing!

Henry

5 hours ago, Henry Ng Tsz Kiu said:

Hi @panta rei,

The key scheme for using Eb minor, B major and Ab major reminds me of Schubert’s Eb minor piece in his three pieces. The first Eb minor section and the chordal B Major section reminds me even more that of that piece, but later I think other composers starts showing their influence, like b.46 Ab major section is like Bee’s Tempest Sonata 3rd movement, b.108 becomes more Chopinistic with the revolutionary-etude like accompaniment. I like the variety in the piece. Except in b.150 a Ritenuto will be needed to play that octave in right hand. 
 

Thx for sharing!

Henry

Well, if you compose in the classical-romantic style (as I do here), it is difficult to avoid the use of elements from other (famous) composers from the time period. But I think that the overall structure and melodies should be different. I hope that I have succeeded here.

I agree with you on the issue of bar 150. I would dislike adding a ritardando in the beginning of this bar. But I agree that It is practically impossible to play the beginning of this bar at full speed while hitting the chord in the left hand. To do  this, you have yo play the  octave run with only the right hand. In legato? Well.. maybe Lang Lang could pull it off, but I am afraid that he will not be interested (ha ha).

To solve the problem, I see two options:

Option 1

Only play the first 2 (or  the first 4) of the upper l/16the notes, and drop the bottom ones. Then, the left hand has time to play the chord.

Option 2

Remove all the lower l/16” notes of the octave line.

I tested both ideas, and  I definitely prefer option 2. ( it is actually better than my original). I made this change in the score as well as in the sound file.

What do you think?

Thanks a lot for your excellent (as usual) comments!

Regards, Johan