A Dictionary of Music and Musicians/Choral Fantasia

CHORAL FANTASIA. A composition of Beethoven's (op. 80) in C minor, for piano solo, orchestra, solo quartet and chorus. It is in two sections—an 'Adagio' and a 'Finale, Allegro.' The Adagio is for piano solo in the style of an improvisation; indeed it was actually extemporised by Beethoven at the first performance, and not written down till long after. The Orchestra then joins, and the Finale is founded on the melody of an early song of Beethoven's—'Gegenliebe'—being the second part of 'Seufzer eines Ungeliebten' (1795)—first, variations for piano and orchestra, Allegro; then an Adagio; then a Marcia, assai vivace; and lastly, an Allegretto in which the solo voices and chorus sing the air to words by Kuffner in praise of music. The form of the piece appears to be entirely original, and it derives a special interest from its being a precursor of the Choral Symphony. In both the finales are variations; the themes of the two are strikingly alike; certain passages in the vocal part of the Fantasia predict those in the Symphony (compare 'und Kraft vermühlen' with 'überm Sternenzelt'); and lastly, there is the fact that Beethoven speaks of the finale of the Symphony as 'in the same style as the Fantasia but far more extended' (Letter to Probst, March 10, 1824). It was first performed by Beethoven himself, at the Theatre an der Wien, Dec. 22, 1808; published July 1811; dedicated to the King of Bavaria. Its first appearance in the Philharmonic programmes is May 8, 1843—repeated on 22nd—Mrs. Anderson pianist both times. Sketches for the Fantasia are said to exist as early as 1800, with those for the 6 Quartets (op. 18), and the C minor Symphony (Thayer, Chron. Verzeichniss, no. 142).

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