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Fantasie Reflections

Hyewon Chang piano

Wolfgang Amadeus Mozart composer
Robert Schumann composer

Release Date: July 26, 2024
Catalog #: NV6637
Format: Digital
Classical
Romantic
Solo Instrumental
Piano

Internationally renowned and award-winning pianist Hyewon Chang makes her Navona Records debut on FANTASIE REFLECTIONS, a carefully crafted collection of fantasias from Mozart and Schumann effortlessly brought to peak form. Chang’s fluent attention to temperance in Mozart’s Fantasia in C Minor (K. 396) captures improvisational elements and collaborative effect in Maximilian Stadler’s completion of the 1782 composition. So too does Chang treat the wide range of captivating themes nestled in the folds of Fantasia in D Minor (K. 397) with equal musicality and assurance; the same for Fantasia in C Minor (K. 475), a pinnacle of Mozart’s repertoire given new breath in an unwaveringly grand iteration. Rounded out with Schumann’s Fantasie in C Major, a staggering journey into the innermost impassions, dedications, and toils of the composer himself, FANTASIE REFLECTIONS comes as a masterful recording to be long-lauded by dedicatees of Mozart and Schumann alike.

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Track Listing & Credits

# Title Composer Performer
01 Fantasia in C minor, K. 396 Wolfgang Amadeus Mozart Hyewon Chang, piano 11:23
02 Fantasia in D minor, K. 397 Wolfgang Amadeus Mozart Hyewon Chang, piano 5:57
03 Fantasia in C minor, K. 475 Wolfgang Amadeus Mozart Hyewon Chang, piano 11:52
04 Fantasie in C major, Op. 17: I. Durchaus fantastisch und leidenschaftlich vorzutragen; Im Legenden-Ton Robert Schumann Hyewon Chang, piano 12:47
05 Fantasie in C major, Op. 17: II. Mäßig. Durchaus energisch Robert Schumann Hyewon Chang, piano 7:57
06 Fantasie in C major, Op. 17: III. Langsam getragen. Durchweg leise zu halten. Robert Schumann Hyewon Chang, piano 10:22

Recorded December 14, 2023 at Skillman Music in New York NY
Session Producer & Engineer Wei-Xiong Wang
Mixing & Mastering Wei-Xiong Wang

Executive Producer Bob Lord

VP of A&R Brandon MacNeil

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Kacie Brown
Digital Marketing Manager Brett Iannucci

Artist Information

Hyewon Chang

Pianist

South Korean-born pianist Hyewon Chang’s musical journey has seen her grace stages of international renown, including the Weill Concert Hall at Carnegie Hall, the Kennedy Center, Hochschule für Musik und Theater in Munich, and the historic birthplace of Franz Joseph Haydn in Rohrau, Austria. Additionally, her performances have resonated through Rolston Hall at the Banff Centre and across numerous venues in America, captivating audiences with her profound musicality and technical prowess.

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Notes

Mozart’s Fantasia in C minor, K. 396, occupies a distinct position within the composer’s body of work, its narrative enriched by both Mozart’s initial concepts and Maximilian Stadler’s adept completion. Originating in 1782, the composition remained incomplete.

Characterized by a somber introductory arpeggio, the Fantasia in C minor immediately establishes an atmosphere of darkness and turbulence, marked by dissonances, diminished chords, and intricate chromaticism. In contrast to its counterpart, the Fantasia in D minor, K. 475, which concludes with a bold assertion, the C minor Fantasia gently fades away. It does so after revisiting its initial themes, evoking a sense of subdued acceptance.

Stadler’s contribution to completing Mozart’s unfinished works highlights his significance in the realm of classical music. In addition to his editorial pursuits, Stadler’s diverse interests, such as experiments in chance-based music and arrangements of Mevlevi dervish chants, offer insight into his creative ingenuity and intellectual curiosity.

Published posthumously in 1802 under the title “Fantaisie pour le Clavecin ou Pianoforte dédiée à Mad. Constanze Mozart,” the Fantasia in C minor stands as a testament to Mozart’s improvisational skill and Stadler’s meticulous craftsmanship. Rooted in contemporary musical conventions yet infused with Mozart’s unmistakable voice, this composition exemplifies the collaborative ethos and enduring legacy of two esteemed musical figures.

Mozart’s immersion in Vienna’s vibrant musical scene during the early 1780s facilitated his artistic development. Amidst performances and premieres, he honed his improvisational abilities, drawing inspiration from the baroque repertoire favored by influential figures like Baron Gottfried van Swieten. The Fantasia in C minor, alongside its companion piece, the D minor Fantasia, bears the imprint of this period, showcasing Mozart’s mastery of form and his capacity to transcend stylistic confines effortlessly.

Wolfgang Amadeus Mozart’s Fantasia in D minor, K. 397, composed in 1782, stands as a testament to the composer’s mastery of musical expression and innovation within the realm of solo piano literature. Lasting approximately 6-8 minutes, this remarkable piece showcases Mozart’s ability to evoke profound emotion and captivate audiences with its emotive depth and virtuosic piano writing.

The Fantasia in D minor unfolds as a poignant journey, possibly originating from an improvisational spark. Commencing with brooding arpeggios, it unveils a D minor theme characterized by sighing appoggiaturas, reminiscent of a mournful soprano aria. Each statement of the theme takes a unique trajectory before melting into cadenza-like figurations. Ultimately, the somber D minor transforms into the radiance of D major, courtesy of an innocent, song-like Allegretto melody. The music unfolds organically, with passages of intricate ornamentation and dramatic contrasts, demonstrating Mozart’s exceptional command of keyboard technique and expressive range.

Mozart’s Fantasia in C minor, K. 475, composed in May 1785, stands as a pinnacle of his compositional prowess, epitomizing the Sturm und Drang style prevalent in the late 18th century. Influenced by the works of Bach and his son C.P.E. Bach, the Fantasia features sudden and stark contrasts of mood and color across its five sections.

Unfolding as a single movement, devoid of traditional structural confines, the Fantasia allows Mozart’s inventive genius to flourish unrestrained. From the enigmatic opening chords, evocative of an invocation of the muse or a gathering of inspiration, to the extended lyrical interludes and frenetic bursts of energy, the piece feels like a captured moment of improvisation.

Noteworthy is the horizontal nature of the music, characterized by the contrapuntal juxtaposition of musical lines, a technique reflective of the elder Bach’s legacy. This departure from traditional chordal accompaniment underscores Mozart’s admiration for Baroque compositional techniques, skillfully integrated into his own style.

Mozart crafts a work of profound emotional depth and technical brilliance in the Fantasia in C minor by incorporating these elements. The exploration of contrasting moods and its fluid narrative arc captivate the listener, showcasing Mozart’s ability to weave together diverse musical elements into a cohesive and compelling whole.

Schumann’s Fantasie in C major, Op. 17, bears a complex origin intertwined with his deep affections for Clara Wieck and his reverence for Beethoven, who had passed away during Schumann’s formative years. In June 1836, he penned a lament for Clara titled Ruins, later incorporating it into a ‘Grand Sonata’ for Beethoven, envisaging three movements: “Ruins,” “Trophies,” and “Palms.” Unrealistically, he hoped the proceeds from its sales would contribute to a planned Beethoven monument, an initiative led by Franz Liszt. Originally conceived as a “Sonata for Beethoven” entitled Ruins, Trophies, Palms. Grand Sonata, the piece underwent transformations, reflecting Schumann’s emotional and artistic journey. Dedicated to Liszt, it embodies Schumann’s artistic ambition. Despite abandoning the initial plan, Schumann maintained the Fantasie’s grandeur, describing it to Clara Wieck as “perhaps the most impassioned music I have ever written” in March 1838. This monumental work represents a culmination in Schumann’s piano music, blending passion, delicacy, and virtuosity into a demanding yet profoundly romantic composition.

The first movement, characterized by a furious figuration in the left hand and an impassioned motto theme, sets the stage for a dramatic musical narrative. Inspired by a quotation from Beethoven’s song cycle An die ferne Geliebte (“To the Distant Beloved”), the movement conveys Schumann’s intense longing and devotion to Clara. The tempestuous accompaniment and violent changes of mood are juxtaposed with nostalgic visions of knighthood and the epic past, symbolizing Schumann’s undying affection.

The second movement of Schumann’s Fantasie in C major, Op. 17, contrasts with the impassioned fervor of the first. Characterized as a march, it reflects Schumann’s inner turmoil and fragility. Here, the Davidsbündler confront the Philistines in a grandiose narrative, symbolizing defiance against societal constraints. Introspective moments mingle with bursts of energy, showcasing Schumann’s emotional depth. The breathless coda, with its relentless drive, highlights his pianistic mastery. Overall, this movement offers profound insight into Schumann’s struggles and triumphs, encapsulating his romantic spirit and creative brilliance.

In the slow third movement, Schumann’s soul is laid bare, as the music oscillates between sighs of agony and whispers of longing, ultimately culminating in noble triumph and peace. The Fantasie in C major, Op. 17, thus serves as a poignant testament to Schumann’s deepest loves and innermost struggles, capturing the essence of his romantic spirit and creative genius.