The word “Fantasia” is came from “Phantasia”, an ancient Greek that means fantasy. There is less difference between “ricercare” and “fantasia” in the early time .In the sixteen century, either ricercare or fantasia both consisted of successive themes without marked individuality or contrast, each developed in imitation and overlapping with the next at the cadence—in effect, a text less imitative motet. These ricercare displayed free voice leading and had embellishments that were more typically instrumentally. Most ricercare were intended for ensemble playing, but some were still written for keyboard instruments and for lute.

The seventeen-century ricercare is typically a brief, serious, composition for organ of clavier in which one theme is continuously developed in imitation. The keyboard fantasia is constructed on a larger scale than the simple ricercare and has a more complex formal organization.

The leading composers in eighteen century are Johanna Sebastian Bach and Carl Philip Emanuel Bach. Carl Philip Emanuel Bach is an important composer between Johanna Sebastian Bach and Mozart whose compositional style was came from empfindsamkeit and sturm und drang.

Mozart had combined both the skills from Johanna Sebastian Bach and Carl Philip Emanuel Bach to writ his own Fantasia, K.475 (written on 20 May 1785). This work is a perfect mixture of the gallant and the “learn” music. Also this work is so rich that it threatens to eclipse the sonata, without actually doing so.

This paper tries to analysis Mozart’s Fantasia in C minor through its character in structure, tune, harmony, rhythm and counterpoint. And also tries to discus the performance of this Fantasia through tempo, articulation, phrasing, ornaments, difficult parts and different versions comparison