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Schumann Fantasie in C major, Op. 17

From my Faculty Recital at UMKC Conservatory's White Hall Schumann Fantasie Op. 17 I. Durchaus fantastisch und leidenschaftlich vorzutragen II. Mäßig. Durchaus energisch III. Langsam getragen. Durchweg leise zu halten I play the "rediscovered" ending that Schumann had crossed out in the manuscript. I don't have an opinion of whether it is better or worse of an ending than the published version, but it is different, and I think a wonderful experience. To Schumann, the descending interval of the perfect 5th represents Clara (see the opening of this piece in the melody, or the bass line in the Sonata No. 3, Op. 14). The "An die ferne geliebte" motif in the coda of the 1st movement has a descending 4th, but when Schumann brings it back at the end of the 3rd movement, he changes it to a 5th (along with some awesome harmonic changes). I, and many others, speculate that Schumann wanted to make clear to Clara that though this piece was dedicated to Liszt, and written ostensibly for the dedication of the Beethoven monument in Bonn, it really was meant for Clara. Why it was eventually struck is up to more speculation. www.seanchenpiano.com