Fantastische Träume, Op. 41

A piano piece dedicated by Burgmüller "to his friend Liszt" (as inscribed on the score), with the dedication printed in larger type than the title on the first edition's cover.

At the time this piece was published in 1838, Liszt had engaged in a piano duel with Thalberg the previous year, and collaborated with Thalberg, Czerny, Chopin, and others on the variations "Hexaméron." Furthermore, a particularly radical group of Liszt's piano works, including a collection of extremely difficult etudes (see musical example below) that were later revised into the "Études d'exécution transcendante" S.139 and "Grandes études de Paganini" S.141, were created during this period, marking his absolute peak as a virtuoso. While one can sense Liszt's characteristic flair in "Fantastische Träume," it can be said that the image of Liszt as a virtuoso is not reflected in this piece.

• Liszt: Études d'exécution transcendante d'après Paganini S.140 (1838 version), from No. 4

Schumann's Review

Schumann featured this piece in the May 31, 1839 issue of his own journal, "Neue Zeitschrift für Musik" (for Schumann, his "Fantasiestücke" Op. 17, dedicated to Liszt, had just been published in April), and wrote the following. While the passage may be somewhat challenging, I wish to include the entire review section to ensure fairness to both Burgmüller and Schumann.

One might immediately imagine a powerful work upon seeing Liszt's name, but this piece is not such. However, the composer, who has hitherto offered mostly light, amateurish works and arrangements, has now completed a truly significant piece, transcending his previous domain. The piece has a light and pleasant flow, and the tenor voice in the middle section is particularly effective. Overall, it recalls Weber's fiery Allegro movements, and the opening is reminiscent of the "Euryanthe" Overture. We hope that he will again turn towards original works. There is ample time for that.

• Weber: Opera "Euryanthe" Overture, opening

Musical Similarities and Quotations

To the author, a similarity is felt not with Weber's "Euryanthe" Overture, but rather with the latter half of Reiza's aria "Ocean! thou mighty monster!" from Act 2 of his opera "Oberon."

• Weber: Opera "Oberon," Act 2, from Reiza's aria

• Burgmüller: "Fantastische Träume" Op. 41, opening

Furthermore, although the tempo differs, a phrase almost identical to a passage sung by the mermaids immediately following the same aria in "Oberon" appears near the end of "Fantastische Träume." It is often pointed out that the exact same phrase by Weber also appears in the coda of Mendelssohn's Overture to "A Midsummer Night's Dream" Op. 21, composed shortly after the premiere of "Oberon." Considering this, while not definitive, it is possible that this melody in "Fantastische Träume" is a quotation from Weber or Mendelssohn.

• Weber: Opera "Oberon," Act 2, from the Mermaid's Song

• Mendelssohn: Overture to "A Midsummer Night's Dream" Op. 21, from

• Burgmüller: "Fantastische Träume" Op. 41, from