Extant material of every movement Symphony, D 708A (Schubert)

1 extant material of every movement

1.1 first movement
1.2 second movement
1.3 third movement
1.4 fourth movement

extant material of every movement

the sketches written on 2 staves, voice leading, , harmonies ranging complete partly indicated. manuscript contains 5 instrumental indications, confirming intended orchestra similar in size sixth symphony, without trombones (that become part of schubertian orchestra in seventh , later symphonies). conforming symphony still being firmly in classical style, orchestra same employed in symphonies of viennese masters haydn, mozart, , first 2 symphonies of ludwig van beethoven. sketches total 18 minutes of music; newbould s completion lasts 35 minutes.

first movement


first theme

second theme

the spirited first movement intended in sonata form, sketch breaks off @ end of exposition. first movement of schubert symphony (barring unfinished tenth symphony) begins first theme, without either full slow introduction (as in ninth) or prefatory theme (as in eighth). begins rhythmic first theme in d major, forms basis accompaniment second theme; however, abruptly , surprisingly grinds halt on augmented sixth chord on subdominant. after modulatory passage in transition, second theme first exposed in a♭ major, tritone away original tonic, before modulating conventional dominant (a major). unprecedented in works important viennese composers.

second movement


opening

the lyrical slow second movement written in dominant key of major, there great deal of modal mixture. after first theme first exposed in major, transition in parallel minor leads restatement of theme in f major, in theme heard in two-part invertible counterpoint. sketch ends here.

the initial statement of first theme has different rhythm other statements. newbould decided regularize in completion, stated time in completion altered schubert wrote.

one of schubert s instrumental cues in sketch appears here, giving melody clarinet. inconvenient due high tessitura of melody, going written g6 (sounding e6).

third movement


beginning of scherzo

beginning of trio

the fast , light third movement complete of movements in sketch. scherzo , trio written in tonic key. motive in eighth notes in first bar later reused in scherzo of schubert s ninth symphony. opening lively fugato based on motive, before main melodies enter. initial motive forms basis accompaniment. second section of scherzo focuses around mediant key of f♯ minor before returning opening material. trio set in subdominant key of g major; though incomplete, few bars have reconstructed movement performable. again, trio sends clarinet extreme high register (up sounding d6).

fourth movement


opening

the fourth movement finale, in sonata rondo form. schubert started first version, crossed out begin movement anew. opens melody in triplets on flute; due triplets throughout, movement gives appearance of being in 6

8. despite schubert s attempting reduce influence of rossini in style here, crescendo after first statement of theme reminiscent of rossini s style.

unusually, music reaches key of a♭ major during climactic passage, using chords of a♭ major , c♯ major. means horns, trumpets , timpani have remain silent despite being conventionally present during climactic passages. creates problems in orchestrating symphony in schubert s style, , why symphony left unfinished. due impossibility of using instruments when necessary, schubert considered using trombones finale, used there. because had not intended symphony include trombones , still unfamiliar how use them, set work aside begin new symphony written orchestra trio of trombones added. seventh symphony, d 729, remained incomplete.