Formally, the Fantasia I in G op. 77d is quite clearly structured. After the pizzicato introduction, an arioso section begins, which is repeated somewhat modified in the fifth, albeit with a different ending. A kind of development section then begins as the middle section. In the recapitulation, the arioso theme is now repeated in mirror image = inversion. The coda begins meno mosso and ends with the pizzicato of the beginning, which can be taken very slowly.

Bertold Hummel

The name "Fantasia" indicates that the tempo can be handled somewhat more freely than in motorised movements (so the designation quaver = 72 could also mean quaver = 60-80). The change between arco and pizzicato can also be treated accordingly. You just have to make sure that the piece does not "fall apart", i.e. the listener must be able to sense a meaningful connection.
Formally, the fantasia is quite clearly structured: after the pizzicato introduction, an arioso section begins, which is repeated in the 5th line (bar 2) slightly modified a fifth higher - albeit with a different ending. Page 2 (bar 2, line 2) begins a kind of development as a middle section. Page 3 (line 2) begins the recapitulation. The repetition of the arioso section now begins in the mirror image = inversion (line 4, bar 2). The coda begins with the meno mosso in the last line and ends with the pizz. of the beginning, which can be taken very slowly.

Bertold Hummel to Katharina Stein (12 February 1999)