3rd Symphony (Schubert)
The Symphony no. 3 D major ( D 200) is a symphony of Schubert .
Emergence
Schubert wrote his 3rd symphony between May 24th (two months after he had completed the previous symphony No. 2 ) and July 19, 1815. Only shortly after May 24, 1815, after 65 bars, an interruption began that lasted until June 11, 1815 lasted and was probably triggered by a lack of music paper. During this time Schubert switched from twelve-line to sixteen-line music paper. The pure compositional time for the symphony, which comprises a total of 56 sheet music, is nine days.
During this time Schubert worked in parallel on other works such as the vocal quartet "Hymne an den Unendlichen" (D 232) and the songs "Der Abend" (D 221), "Geist der Liebe" (D 233) and "Tischlied" (D 234 ).
The symphony was written for an orchestra of lovers under the direction of the violinist Josef Prohaska; Schubert played the viola in this orchestra . It is believed that the first performance of the symphony was privately held by Prohaska's orchestra.
To the music
Schubert's return to D major, the key of his Symphony No. 1 , gave music researcher Alfred Einstein the impression “as if he had wanted to correct the B flat major symphony with it : it is a return to D major (sic!) of his first symphony, and it is, with the same cast, not only by far shorter, but also by far more concentrated. "
Orchestral line-up
Two flutes , two oboes , two clarinets , two bassoons, two horns , two trumpets , timpani, first violin , second violin, viola , cello , double bass
1st movement: Adagio maestoso - Allegro con brio
At the beginning of the first movement, which contains some unconventional phrases, there is an 18-bar introduction. As in Symphony No. 1, the slow introduction is integrated into the sonata form of the Allegro main section. In both symphonies the introduction also sounds before the recapitulation ; In contrast to Symphony No. 1, in which the introduction merely introduces the recapitulation, in Symphony No. 3 it becomes part of the recapitulation.
The introduction is followed by a dotted theme in the clarinets that, contrary to the rules, is not repeated; instead, the slow introduction is taken up again and further developed thematically. The side movement has the character of a cheerful dance song and is related to the main movement on the one hand through this song-like character and on the other hand in terms of motifs .
The epilogue, which leads from the exposition to the implementation, arises from the dotted closing phrase of the subordinate sentence . The short development, on the other hand, leads through the keys like a terrace and merges into the recapitulation.
After the conventional repetition of the theme in the recapitulation, it is unexpectedly not this but the tuttifort spinning that is modulated.
Another surprise comes at the end of the sentence when the subordinate clause varies the main clause, followed by thirty-second scales and the cadence that concludes the sentence.
2nd movement: Allegretto
The folksong-like, dance-like second movement of the symphony is the only second movement in Schubert's symphonies, not an andante, but an allegretto. Schubert had rejected the original plan to write an Adagio molto in 3/4 time. The movement is divided into a three-part song form: an A part in G major and a B part in C major. The Schubert biographer Walther Vetter said that this sentence echoes the "Maria Lullaby" (14th century) and "I like nothing in the world".
3rd movement: Menuetto. Vivace - Trio
The third movement consists of two motifs that develop independently of one another in the course of this. Walther Vetter suspected that this movement was reminiscent of the Scherzo from Ludwig van Beethoven's Symphony No. 2 and the Scherzo Trio from his Symphony No. 5 .
4th movement: Presto vivace
The fourth movement of the symphony consists of a tarantella in 6/8 time. The movement is in the sonata form. Schubert deviates from their tradition, however, in that the dominant level is only reached in the third formal part, the epilogue, and the recapitulation, in contrast to convention, changes from the dominant to the basic key.
The development consists of only 46 bars and the constantly repeated opening motif on b and c.
In this sense, by placing the subordinate movement of the exposition on the fourth level, the recapitulation can reach the target and basic key all the more easily.
After the performance of 1860, music critic Eduard Hanslick wrote of the bubbly, humorous finale of this symphony that it was »a work of young people [...] and their cheerfully noisy thirst for action, which stirs and moves without any great aim or success take care of". The character of the finale is reminiscent of Gioachino Rossini .
effect
On December 2, 1860 there was a concert conducted by Johann von Herbeck in the Redoutensaal in Vienna , which consisted of the first two movements of Symphony No. 4 , the third movement of Symphony No. 6 and the finale of Symphony No. 3. After this performance, the “ Deutsche Musik-Zeitung ” on December 7, 1860 expressed the wish “to hear these sentences repeatedly and in connection with their original surroundings”.
The first public performance, however, took place in London on February 19, 1881 under the direction of the conductor August Manns on the initiative of the music researcher George Grove , who performed all of Schubert's symphonies during this time.
The symphony was published in 1884 as part of the Old Complete Edition of all Schubert symphonies, edited by Johannes Brahms , by Breitkopf & Härtel . Brahms did not attest Schubert's so-called youth symphonies a high artistic value and was of the opinion that they “should not be published, but only preserved with reverence and perhaps made available to several in copies”.
In his day Antonín Dvořák was one of the few admirers of Schubert's early symphonies, in which - despite the influence of Haydn and Mozart - he emphasized Schubert's individuality in the “character of the melodies”, the “harmonic progression” and the “many exquisite details of the orchestration” recognized.
The English press saw Schubert's Third Symphony as a further development of his own style and thus a greater detachment from the models Wolfgang Amadeus Mozart and Joseph Haydn . For example, The Musical Times wrote on March 1, 1881:
"Schubert III. Symphony, [...] which, like the first, is in D major, already shows great progress compared to its predecessors. Although it was created only a few months after the second, it is a mature but also original work. The first movement is consistently enchanting, the second full of simple grace and extremely melodious, while the finale is again a masterpiece and (despite the time span between the two works) can even withstand a comparison with the final movement of the "Great" C major symphony . "
The sheet music is in the possession of the Gesellschaft der Musikfreunde in Vienna .
literature
- Renate Ulm (Ed.): Franz Schubert's Symphonies. Origin - interpretation - effect. dtv / Bärenreiter, Munich / Kassel 2000, ISBN 3-423-30791-9 .
- Wolfram Steinbeck: "And a romance poured out over the whole" - the symphonies. In: Schubert Handbook. Bärenreiter, Kassel 2010, ISBN 978-3-7618-2041-4 . Pp. 549-668.
- Hans Joachim Therstappen: The development of form in Schubert, shown in the first movements of his symphonies. (= Collection of individual musicological presentations , 19th) Leipzig 1931.
- Ernst Laaff : Schubert's Symphonies. Dissertation, Frankfurt 1931, Wiesbaden 1933.
- Maurice JE Brown: Schubert Symphonies. BBC Publications, London 1970.
- René Leibowitz : Tempo and Character in Schubert's Symphonies. In: Franz Schubert. Special volume music concepts. Munich 1979.
- Brian Newbould : Schubert and the Symphony - A New Perspective. London 1992.
- Helmut Well: Early Work and Innovation - Studies on Franz Schubert's »Youth Symphonies«. Kieler Schriften zur Musikwissenschaft, Volume 42. Kassel 1995.
Web links
- 3rd Symphony (Schubert) : Sheet music and audio files in the International Music Score Library Project
Individual evidence
- ↑ Alfred Einstein : Schubert. A musical portrait , Zurich 1952, p. 104
- ↑ Walther Vetter : Der Klassiker Schubert , 2 volumes, Leipzig, 1953, volume 1, p. 146
- ^ Eduard Hanslick : From the concert hall. Reviews and descriptions from the last 20 years of Viennese musical life , Vienna 1870, p. 207.
- ^ Ernst Laaff : Schubert's symphonies. Dissertation, Frankfurt 1931, Wiesbaden 1933, p. 17
- ↑ Johannes Brahms ' letter to Breitkopf & Härtel from March 1884, in: Johannes Brahms: Briefwechsel. Volume 14, p. 353
- ^ A b John Clapham: Antonín Dvořák. Musician and Craftsman. London 1966 (Appendix II, pp. 296-305): Franz Schubert, by Antonín Dvořák. P. 296ff.