The Fantasy in C minor for Piano, Chorus, and Orchestra, op. 80, was composed in 1808 by Ludwig van Beethoven. Opus is a Latin word which means work (in the sense of a work of art). Some composers musical pieces are identified by opus numbers which generally run either in order of composition or in order of publication. ... 1808 was a leap year starting on Friday (see link for calendar). ... Ludwig van Beethoven by Carl Jäger (Date unknown). ...

Background, composition, and reception

Beethoven conceived the Choral Fantasy as a finale for a concert at the Theater an der Wien on December 22, 1808, which featured the premieres of the his fifth and sixth symphonies and his fourth piano concerto. He wrote the piece during the second half of December, an unusually short time by his standards. The lyrics to the choral part of the piece were commissioned from poet Christopher Kuffner, shortly before the performance, to fit the already written parts. The Theater an der Wien is a historic theater in Vienna. ... December 22 is the 356th day of the year (357th in leap years) in the Gregorian Calendar. ... 1808 was a leap year starting on Friday (see link for calendar). ... Ludwig van Beethoven Ludwig van Beethovens Symphony No. ... Ludwig van Beethovens Symphony No. ... Ludwig van Beethovens Piano Concerto No. ...

The premiere performance seemed to be somewhat disastrous; according to the composer's secretary, Anton Felix Schindler, it "simply fell apart," a result most likely attributed to inadequate rehearsal time. Nevertheless, in marking Beethoven's first complete attempt to marry instrumental with choral music, the Fantasy became an early precursor to his revolutionary Ninth Symphony sixteen years later. Anton Felix Schindler (1795-1864), associate and early biographer of Ludwig van Beethoven. ... The Symphony No. ...

Form

The Choral Fantasy, which in most performances lasts about 20 minutes, is divided into seven sections:

• Adagio
• Allegro
• Meno allegro
• Adagio ma non troppo
• Marcia, assai vivace
• Allegretto, ma non troppo
• Presto.

The Fantasy opens with a slow but virtuostic 26-bar piano introduction, modulating from c minor to C major and back again. The main part of the piece, marked "Finale", begins with an Allegro theme played by the cellos and basses. Next, the solo piano introduces the choral theme in an ornamented version. Variations on the theme are then played by the flutes, oboes, clarinets, and string soloists, respectively. A full orchestral version of the theme, played at a forte dynamic leads into a more lyrical piano line. In musical notation, Adagio is a tempo marking indicating that the music is to be played slowly. ... In musical terminology, tempo (Italian for time) is the speed or pace of a given piece. ... The Stars and Stripes Forever by John Philip Sousa is considered amongst the greatest marches ever written. ... A cello The cello (pronounced Chello) or cello, short for violoncello, is a stringed instrument and a member of the violin family. ... Side and front views of a modern double bass with a French bow. ... In music, dynamics refers to the volume or loudness of the sound or note, in particular to the range from soft (quiet) to loud. ...

The orchestra accompanies an eighth-note heavy piano part as the piece modulates from c minor to C major. A calm, flowing A major section, ending with a call-and-response section between double reeds, horn, and piano, leads into the Marcia, an F major variation on the main theme in march style. A reprise of the instrumental theme from the first allegro transitions into the choral entrance.

The chorus enters with the sopranos and altos singing the main theme, harmonized in triads. The tenors and basses then sing the theme, after which the entire chorus is joined by the orchestra in a tutti rendition. A presto coda with orchestra, chorus, and piano brings the piece to a close.

The Choral Fantasy and Beethoven's Ninth Symphony

The Choral Fantasy is similar in many ways to the fourth movement of Beethoven's Symphony No. 9. Obviously, both feature a chorus. Both pieces also contain a set of instrumental variations on the theme sung by the chorus. Also, the lyrics for both are joyous and uplifting. The Symphony No. ...

External link

• Piece details from the Los Angeles Philharmonic