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Fantasia in G minor, H. 238

by Fanny Mendelssohn

Instrumentation
Cello, Piano
Composed
1829
Duration
5'38''
Publisher
Breitkopf & Härtel
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About this piece

Fanny Hensel wrote this G minor fantasia in autumn 1829, around the time of her wedding, for her youngest brother Paul, a gifted amateur cellist; she headed the manuscript 'Sonata o Fantasia'. It is one of only two works she wrote for cello and piano and is considerably larger in scope than her violin Adagio. Breitkopf's Urtext edition points to Beethoven's cello sonatas as the model, with the two instruments sharing the material in a balanced dialogue. A gorgeous short piece: achingly beautiful yearning, lightened by a brighter middle section and a surprising, delightful ending. Published together with the Capriccio in one Breitkopf volume; a free edition is available from the Hensel Pushers project.

Technical overview

Multi-section single movement: Andante doloroso, Prestissimo, Poco più lento, Andante ma in modo di fantasia, Allegro molto moderato. The free HenselPushers edition marks passages with '!' that are to be played in the (higher) position in which they are written, and offers an annotated cello part with bowings and fingerings by Miranda Wilson.

Technical focus

  • Shifting

Level rubric

Late Intermediate

Left Hand

  • Master positions up to 7th.
  • Use 5th–7th positions for high notes; early thumb position basics.
  • Learn treble clef for 4th, 5th, 6th positions.
  • Practice complex shifting with guide‑finger techniques.
  • Manage upper extensions; play double stops (thirds, fourths, sixths) with consistency.
  • Use continuous, selectively applied vibrato.

Right Hand

  • Develop advanced bow strokes: deliberate ricochet & controlled up‑bow staccato.
  • Execute quick string crossings & precise chord articulations.
  • Achieve wide dynamic range while maintaining tone.
  • Seamless transitions between spiccato and legato.
  • Execute multiple stops/chord rolls rapidly.

Rhythm & Musicality

  • Increased complexity: fast passages, intricate syncopation.
  • Detailed phrasing & structure; shape long phrases with rubato.
  • Combine expressive dynamics, vibrato & precise bowing techniques.
  • Further refine ensemble sensitivity & leadership.

Levels are approximate guides, not strict requirements.