Richter Played Schubert’s 《Wanderer Fantasy》Features Explore

Schubert was an Austrian great musician, composer, he is representative of early Romantic music, who first pioneered romanticism, but also was the last great masters of classical music in the history of Western music has a pivotal status. Schubert at this very stage of transition period, his works influenced by Beethoven, wrote one of the classic works. Wanderer Fantasy Schubert Late one of the most important large-scale piano Fantasia, and it was one of the finest piano works of Schubert recognized. The author of this book of the Bible through music, access to a lot of music virtuoso first of these works are recorded your own performance version. Among them, Germany and Ukraine pianist – Sviatoslav Richter playing the first of these works influential. Therefore, this article by Richter played Schubert’s "Wanderer Fantasy" for the study, from different angles and was creative(original score) comparative study, detailed analysis Richter performance characteristics of a post-Enlightenment people grasp for the second creation.In this paper, Schubert’s late masterpiece 《 Wanderer Fantasy》for the study, of famous musicians Richter played resolve their works. Whole article is divided into four chapters. Chapter One Introduction. This article introduces the reason and significance of research, literature review and Richter’s Biography and his performance overview. Chapter II: the early nineteenth century romantic art and Schubert’s music. It introduces the literature, painting, music and other arts of the early nineteenth century before, and Schubert’s musical style is briefly analyzed. Chapter 3: 《Wanderer Fantasy》 works analysis. This chapter from the creative background, musical structure, musical analysis of three aspects《Wanderer Fantasy》 this piece. Chapter 4: Richter playing《Wanderer Fantasy》features. The main way of playing from the processing techniques, the characterization of the original spectrum three aspects Richter playing elaborate, and summed up his performance features. The conclusion is the end of the article describes a general reference from Richter’s playing how to handle the ongoing creation of principle, and how to grasp the ongoing creation of works in performance.