(Burkhart p. 203)
Name:
Note: This assignrnent is limited to the opening and closing sections
of the fantasy, which are located in mm. 1-25 and 166-81.
1. Given that the fantasy begins in C minor, the absence of flats in the key
signature is mystifying. Why do you think Mozart omitted the flats?
2. The fantasy begins with an opening gesture, followed by two sequential imitations.
These imitations are not literal transpositions. Describe their differences with
respect to the initial gesture.
3. The harmony now becomes extraordinarily adventurousñindeed, perplexing. Examine
the harmonic meandering of mm. 6-18, paying particular attention to the bass line.
What sense do you make of the harmonic progression embracing these measures?
4. How do mm. 18-25 relate to what has gone on before?
5. We now move to the conclusion of the fantasy, starting in m. 166. Although this
part of the work starts out exactly like the opening measures, it quickly veers off
in a different direction. Compare mm. 166-69 to mm. 1-4. What happens in m. 170?
6. How is the remainder of the piece derived from the opening section?
7. Make a comparison of the first and last sections of the fantasy.