Schubert’s (1797-1828) Wanderer Fantasy (1822) contains but one theme (from his song, “Der Wanderer”), which undergoes changes in pitch, meter and color across the four mvmts. The 1st mvmt treats the keyboard in a grandiose orchestral manner, and presents first a heroic theme version and then a lyrical one. The 2nd mvmt is lyrical, the 3rd evokes a German folk dance spirit, and the 4th contains an extraordinary fugue, with a series of octaves, tremolos, arpeggios and rapid scales to bring the work to a brilliant conclusion. Both the Fantasy and the Sonata in C Major convey “the sense of the protagonist making his way through a varied and highly charged emotional landscape.” The Wanderer Fantasy is Schubert’s most technically difficult piano composition, with repeated fortissimo chords and rapid passage work. S also takes a symphonic approach to the piano in the Sonata in C Major, in which “chords thunder, tremolos simmer and rage, dramatic dynamic and timbral contrasts are juxtaposed.” He abandoned the Sonata after completing the 1st two mvmts and sketching parts of the 3rd and 4th. The 1st mvmt has grandeur. Syncopated rhythm in the development section builds tremendous force, before a gentle choral idea from the mvmt’s opening bars concludes. The 2nd mvmt is more relaxed and melodious. The 3 Klavierstüke were composed six months before S’s death. The 1st opens boldly with a galloping figure; the 2nd, in ABACA form, is lyrical; the 3rd lively, with much syncopation and an exciting close.