The history of one of Mozart’s best-loved piano works, his Fantasy in D- minor, is still shrouded in mystery. Even Mozart’s sister, who came across the work in 1807 through the first edition, was astounded to have discovered a previously unknown composition of such quality.
In its original form the Fantasy was in all probability a fragment. The closing bars that are most frequently performed today originated from an unauthorized print from 1806.
Some artists ignore the additions To this piece that were made by other composers and instead repeat the opening arpeggios at the end of the piece to bring a rounded symmetry to the form and preserve Mozartean authorship throughout.
Here is the late pianist, Emil Gilels, in his interpretation of this work:
