This work is one of three held by the Bayerische Staatsbibliothek, as part of the collection of the Gitarristische Vereinigung München. The other works are an arrangement of a famous waltz by Joseph Gungl (1809-1889) called “Träume auf dem Ozean” and a piece in form of theme and variations. The Grand Fantasy by Kamberger is a composition based on many opera themes, a lot of quotations stem from “Alessandro Stradella” by Friedrich von Flotow, which was premiered at Stadttheater Hamburg in 1844. According to a historical journal found at the scientific department of the city library of Mainz, it was first played there on 13.9.1845. More performances followed on 20.9.1845, 3.12.1845, 25.1.1846 and 16.4.1846.
The quotations of Flotow’s opera as well as other inspirations, have been marked in the score. Sometimes Kamberger takes passages out of the orchestra, in such cases I’ve only written the name of the opera. Some of the quotations were written into the autograph by pen, probably by a member of the Gitarristische Vereinigung, I’ve left them in the score.
Unlike many other works, that focus one composer, e.g., the Rossinianas by Giuliani, the fantasy by Kamberger is rather open and flexible in regards of style and form of the quoted material. One could even go as far as saying unconventional for the period the composer was living in. Kamberger does not work the themes, but rather keeps presenting new melodies. Once one quote is finished, Kamberger tries to connect to the next one quickly. Remarkable, from my point of view, is the fact that he concludes with a “Lied”– stylistically an antithesis to opera. Secondly, there are two tremolo passages that divide the fantasy into three parts, in the first of which, he uses some of the melody line of the English national anthem “God save the King”, a courageous thing to do at that day and age with the birth of a unified Germany on the horizon. The tremolo is not exactly what we think of today, but one of the typical techniques at the time, as described in the guitar school of Heinrich Albert (1870-1950). Guitarists rarely come across this type of tremolo over four strings. I’ve seen usage of this technique in the works of Albert, Eduard Bayer (1822-1908) and Kamberger. Thirdly, it is remarkable that Kamberger had the courage to finish with a theme of his own, as the towering peak and finale of the piece.
The Grand Fantasy suggests that the composer was not afraid of breaking boundaries and enjoyed experimenting with unconventional material and techniques for the time. Humour and surprise are important elements of the composition too. I would recommend this work to anyone who is looking for something unexpected, to make their programme stand out. This composition will appeal to anyone with a love of opera. To make the instrument sing is an absolute must with this piece!
