Fantasia in Do minore K475 & Fantasia in Re minore K397

I am sure that my passion for Fantasie is known to many. How, then, can I not try my hand at performing Mozart’s only two Fantasie? First, we need to approach it very differently. In these two works Mozart can use something in the piano that we harpists do not have access to as easily: silence. In the piano, just lift the pedal, remove your hands from the keys and the performer will have a sublime damping of all sounds. In the harp, on the other hand, the art of dampening is a long and difficult study even for the most experienced ones and to reach that silence I was talking about before we would have to dampen so many times, so constantly, that the nature of the piece would inevitably be destroyed. In my two transcriptions I have indicated very precisely, according to my experience, where and what to dampen; as always, my goal is to preserve the soul of the original, without being imprisoned by it. In fact, if you seek at all costs the (apparent) perfection belonging to the piano, you will be trapped.

In Fantasia in D there is only one chromatic scale to retouch and the solutions are many. In the one in C, which is longer and more difficult from a technical perspective, I found some enharmonic solutions in the faster passages that will help to obtain the equivalent harp effect. Both fantasies sound beautifully on the harp.