Four works in broad form must be reckoned among his greatest compositions. These are two sonatas: one in F-sharp minor, opus 11, one in G minor, opus 22; the great ‘Fantasy’ in C major, opus 17; and the concerto for pianoforte and orchestra in A minor, opus 54. It is hard to estimate the worth of the sonatas. That in F-sharp minor is rambling in structure, and too long; yet there are pages of splendid music in it. The introduction is full of a noble passion and strength; the first theme of the first movement has a vitality which, better ordered, would have made of the whole movement a great masterpiece; and the second theme is undeniably beautiful. But transitional sections and the development are monotonous and too little restrained. The second movement, making fuller use of the themes hinted at in the introduction, is wholly satisfying; the scherzo, likewise, with its grotesque Intermezzo and mock-heroic recitatives. But in the last movement again there is far too much music, far too little art; and, despite the healthy vigor of the chief theme, the piece staggers rather than walks. The sonata in G minor is more concise, is, indeed, perfect and clear-cut in form. All of it is lovely, particularly so the _Andantino_ and the _Rondo_. There is perhaps too much restlessness in the first movement and, consequently, too little variety. It is all flame and no embers. The Fantasy is colossal. It is said that Schumann intended the first movement to represent ruins, the second a triumphal arch, the last a starry crown. Subsequently he changed his intention; but something of these original characteristics still remains. The first movement is a strange mixture of stark power, tenderness, and romantic legend. It is not hard to find in it the groundwork of the triplex form. There is a first theme, the dominant theme of the movement, strangely gaunt and bare; and a contrasting theme beautifully melodious which Schumann associated with his beloved Clara. These two themes are presented fairly regularly in the first section of the movement; and the last section brings them back again, as in the triplex form. But there is a broad middle section, in legendary character, which presents a wealth of different material, some of which has been freely used between the first and second themes in the first section. The whole is greatly expanded, full of pauses, passages of unrestrained modulation. The effect is truly magnificent.