In February 1784, Mozart took an impressive turn from his carefree and mischievous nature and set about making a complete record of his works, which he called "List of All My Works" in all seriousness and application. However, he did not intend to burn the midnight oil on the project, as he planned to complete it around 1800, by which time it would be duly "updated".
The solo piano piece Fantasia in C minor (K. 475) entered the catalog on May 20, 1875.
These are years in which Mozart, despite the success achieved with The Abduction from the Seraglio in 1782, focused on the production of piano concertos and the development of his career as a pianist. In 1785, precisely, the concertos Nos. 20, 21, and 22, no more and no less, saw the light of day.
Fantasia in C minor, K 475
It was published that same year as a set (opus 11) with a sonata (the sonata in C minor, KV 457), a completely different genre if one thinks of the improvisatory character that every "fantasia" is supposed to have. This led to thinking that the latter's mood served in some way as an introduction to the sonata, both pieces forming an integral work. Today they are considered independent pieces, and in that light, they are part of the repertoire of contemporary pianists.
The Atmosphere
Unlike the plurality of sensations (pathos, joy, abandonment) evoked by its namesake,in D minor, from 1782, the Fantasia in C minor, beginning in a beautiful adagio tempo, is characterized by maintaining, in general, a somewhat somber and perhaps even gloomy atmosphere. In line with the rest of Mozart's fantasias, it demands from the interpreter a translucent virtuosity.
An exquisite version is the one delivered here by the remarkable Hungarian pianist Zoltan Kocsis, who passed away in Budapest 6 years ago. Maestro Kocsis, in addition to developing an extraordinary career as a virtuoso, also successfully tackled conducting, composition and pedagogy. This modest blog pays here a heartfelt tribute to him.
