5th Symphony (Schubert)
Franz Schubert wrote his Symphony No. 5 in B flat major ( D 485) in the autumn of 1816, at the age of 19. Due to its indescribable lightness, it is one of the most popular and most-played orchestral works by the composer today . The playing time is approx. 27 minutes.
Origin and Effect
The 5th symphony in B flat major (this key was - besides D major - the "favorite key " of the young Schubert for symphonies and also for string quartets), is perhaps the most perfect of his youth symphonies and is generally regarded as the first "mature" symphony of Schubert . Their elaboration is of chamber music perfection, because the cast is smaller than that of all other symphonies and their proportions are finely coordinated. It can be understood as Schubert's productive examination of Mozart's symphonic oeuvre and reveals Schubert's complete otherness and independence.
According to Schubert's own entries on the score , the work was written in the period from September to October 3, 1816 and was scheduled for a performance that same autumn by the amateur orchestra founded by Otto Hatwig in Vienna , in which the composer himself the Viola, his brother Ferdinand played the violin. This orchestra was a stroke of luck for the young Schubert, comparable to a laboratory in which he came into contact with works by contemporary composers such as Haydn , Mozart, Beethoven and Méhul and was also able to try out his own compositions under real conditions.
Symphony No. 5 was written at a time when Schubert was looking for his own musical language. Although the style of this youth symphony, which lacks clarinets , trumpets and timpani , is definitely reminiscent of Mozart , Schubert already goes his own way in many respects: Schubert expands through his sudden major-minor changes, deviations in remote keys and the characteristic use from Mediantik the harmonious palette of Viennese classicism . Also here is not the usual sentence structure in which the topics existed more or less next to each other, but instead the motifs flow into one another. This is exactly what the Viennese music critic Eduard Hanslick misjudged when he said that the symphony was "a weak cast by Mozart". "Indeed, the minuet of this symphony (because of the related dark tone and the contrasting cheerfulness of the trio) is reminiscent of the minuet of Mozart's G minor symphony (KV 550). The second movement could also have at least melodic influences from Mozart's Piano Sonata in B flat major (KV 570) or Susanna's aria Deh vieni non tardar from Le nozze di Figaro . And yet the 5th symphony is just as "schubertisch" as all his other symphonies . "
Symphony No. 5 in B flat major is of the six great symphonies that Schubert wrote between 1813 and 1817/18, the only one without long or even empty passages, the only one whose essential traits are grace and liveliness due to a certain naturalness of expression, without excluding the serious tones.
As in the case of Schubert's Symphony No. 4 , a four-hand piano reduction was published in Leipzig in 1870 . The score, consisting of 27 sheets of music with 16 lines each, is now kept by the Berlin State Library and is therefore the only score among Schubert's symphonies not in Vienna.
Musical shape (analysis)
1st movement: Allegro
B flat major, 2/2 time ( alla breve ), 299 measures
In contrast to Schubert's first four symphonies, Symphony No. 5 lacks a slow introduction; Instead, it begins with a gesture be opened in the form of a four-bar wind cadenza that Schubert at the beginning of the execution resumes and modulatory sequenced to them when entering the Reprise then surprisingly omitted.
The first movement is in sonata form . The exposition (bars 1–117) opens with a simple cadenza of the woodwinds in B flat major, before the cheerful main theme, reminiscent of Viennese street songs, begins in bar 5 after a preparatory run of the 1st violins. The main movement (mm. 5-40) in the basic key of B flat major is in three parts (37 in 14 + 6 + 17 bars) and begins with the 15-bar main theme in the strings, which is held in pianissimo . The first theme is characterized by an ascending triad motif with dotted rhythms and imitations in the bass. In the further course the head motif (bars 5-6) is sequenced in the sense of a model and after a melodic continuation and the theme in bar 19 ends with a half-close . This is followed by an interlude-like passage (bars 19-24) on the dominant (above organ point ), which is also designed to imitate, but this time in the form of a double interplay between the flute and the violins. The varied repetition of the theme (bars 25–41) extends Schubert to a total of 17 bars, enriches it with a descending counter-motif in the flute (e.g. BT 26–27) and, after a full closure, interconnects this directly with the following transition. In bars 41–64, the full orchestra can be heard for the first time in the forte , whereby Schubert achieves a clear contrast between the main movement and the subordinate movement while regularly modulating into the dominant key .
The side movement (mm. 65–92) in F major consists - as is often the case with Mozart - of several sections, a so-called phrase chain (27 in 8 + 7 + 6 + 6 bars): The periodically built side theme (8 in 4+ 4 bars) in the strings follows, analogous to the main movement, its varied repetition in the woodwinds, which surprisingly ends in a variant in m . 80 . The second attempt to close the theme harmonically correctly also results - contrary to expectations - again in a fallacy, before Schubert finally cadences in F major in the third attempt. The following final group (bars 82–117) consists of an 8-bar, contrasting model (for the first time Schubert calls for fortissimo here ), his variant extended by two bars, and a formulaic cadenced epilogue (bar 110–117).
The implementation (T. 118-170) is kept relatively short at 47 cycles, three-piece in itself and opened with the original brass cadence (see. T. 1-4) in the Mediante D flat major. Compared to the exposition, Schubert supplements bars 118–122 with material from the previous final group (cf. bar 110) in the flute and oboe and then modulates the minor subdominant in E flat minor using a model and sequences. The way the modulation and the harmonic disposition could not be more "schubertischer" (and thus more romantic ): After the development by means of harmonic shifting had surprisingly begun in D flat major, which is related to the third, Schubert now modulates in falling thirds, affecting the Keys D flat major, B flat minor, G flat major and E flat minor. Also the second part, the so-called core of the development (after Ratz ), is characterized by harmonic instability and a "searching" typical of Schubert: Hardly arrived in E flat minor (bar 134), it modulates further to F minor ( Bar 140), only to end up in the original D flat major after a three-time sequence - and to have turned in circles, so to speak. The continuation then oscillates "helplessly" back and forth between E flat minor and G flat major, only to ultimately linger on the dominant, as was usual before the recapitulation - but incorrectly on that of E flat minor (instead of E flat major ); and this then closes the second circle. The following return leads after a fallacy (bar 160/167), the dialogical interplay of the woodwinds with the strings and a diminished wind cadence (this time only 2 instead of 4 bars) in bar 171 finally in the recapitulation.
Contrary to common conventions of the Viennese classicism , however, a "subdominant recapitulation" (mm. 171–299) is involved: the main theme is therefore in the sonically lighter E flat major (instead of B major), while the secondary theme is normally in the basic key of B major. The main movement (T. 171–203) only comprises 33 bars this time, as the interlude-like passage (T. 185–186) is now reduced to two bars. The transition (mm. 203–230) appears to be slightly expanded and - according to the key situation - transposed or harmonized. The following subordinate movement (bars 231–258) - apart from the transposition to B flat major - is recapitulated almost verbatim, while the final group (mm. 258–299) is expanded to form an expansive coda , with Schubert's original form in bars 276 –292 extended by a repeated furious scale passage, but otherwise closes the movement analogously to the exposition.
2nd movement: Andante con moto
E flat major, 6/8 time, 141 measures
The second movement, a nature-loving " song without words " with tragic turns in the subdominant key of E flat major, is a two-part Adagio form (after Ratz ) with the structure AB A 'B' + Coda (A '') . Particularly noteworthy here is Schubert's ingenious compositional handling of the cantable main theme, which is modified in various ways in the course of the movement.
The main movement (bars 1-23) and the main theme (A part) in E flat major constitutes itself as a "classic three-part song" (after Ratz) and is divided into AA '/ B A' 'B A ''; formally in two parts, in terms of content, on the other hand, in three parts: a 4-bar, periodically constructed theme (4 in 2 + 2 bars) with a prelude in the strings and its written repetition including the winds, is followed by a middle section (9 in 2 + 2 + 5 Bars) as well as a varied recapitulation with a codetta (6 in 4 + 2). Both parts are repeated obligatorily. The middle section (bars 9-17) consists of a 2-bar model in F minor, its sequence in E flat major and a short development section, which in turn lingers on the dominant of the variant key E flat minor and thus functions as a return to the recapitulation . Schubert now creates the varied recapitulation (bars 18-23) directly with the full orchestra, but begins - as at the beginning of the movement - with the strings and lets the woodwind follow in imitation.
After a cadenced transition (mm. 24-27), which begins by means of harmonic indentation in the " Neapolitan " Fes major, follows the page movement comprising a total of 40 bars with an integrated return line (mm. 27-66) in the sub-median C-flat major. The secondary theme (8 in 2 + 2 + 4 bars), designed by the strings in alternation with the woodwinds, ends Schubert abruptly in m.34 in the variant of C flat minor - notated enharmonically as B minor - and interlinks it directly with his Repetition. In the second attempt, the theme, which has meanwhile been revised, actually modulates in G major, but, contrary to expectations, in m.41 again changes to its variant in G minor. The subsequent return is characterized by harmonic instability: Schubert has obviously lost his way and is now looking for a "way home", so to speak, by first striving for the dominant of G minor, C minor and ultimately the redeeming E flat major, where, as expected, the recapitulation begins in m. 67.
In the recapitulation of the main theme in the basic key, Schubert dispenses with the original repetition of the middle section and the recapitulation; Furthermore, the written repetition of the theme in bars 71-74 appears melodically decorated and the recapitulation (bars 84-89) sounds surprisingly in the variant key of E flat minor. The main movement (T. 67-89) with the structure in A A ' var / B A' ' var is thus reduced to 23 bars. The transition (bars 90–93) this time modulates into the upper mediante G flat major. Schubert shortens the following subordinate movement (mm. 93–117) to a total of 25 bars, but also ends the secondary theme in m. 100 again in the G minor variant (notated as F sharp minor) and modulates further to D in m. 107 Minor (instead of D major), in order to then control the dominant of E flat minor (instead of E flat major) and thereby harmoniously refresh the last recapitulation of the main theme in the context of the coda.
After everything the listener has been through emotionally so far, the coda, which is relatively extensive with 24 bars (bars 118–141), has an almost forgiving effect. For the last time, the main theme sounds again in the basic key of E flat major - but now radically shortened. Schubert dissolves the original form (classic three-part song) and instead connects the beginning of the topic with the end: bars 118–121 largely correspond to their original form (cf. bars 1–4) with enriched harmony and used instead of a written repetition Schubert now directly uses the original recapitulation in bar 122 (cf. bars 18-23) with the melody clouded by "minor tones" in the winds. The supposed final and augmented final turn of the theme in bars 127–128 initially leads Schubert into a variant fallacy and, contrary to expectations, only a fallacy appears at the second attempt. Irritated by the listener's expectation, which has already been betrayed twice, the long-awaited full closing in the third passage in m. 136 has a relieving and surprising effect at the same time. The movement ends with a 6-bar swan song (bars 136–141), which turns wistfully to the minor subdominant (A flat minor) over an organ point and fades away peacefully in pianissimo after a descending triad motif in the horns.
3rd movement: Menuetto. Allegro molto - trio
G minor, 3/4 time, 88 bars - G major, 3/4 time, 40 bars
The third movement, referred to by Schubert as "Minuet", with the traditional structure of AA '/ B A' '(with obligatory repetitions of both parts) is not in the basic key of B major, as is usual, but in the parallel key of G minor . It is also not an actual minuet, but a rather impetuous "Gstrampften", a rural Austrian folk dance.
The repeated A section (bars 1-26) in the gloomy G minor comprises 26 bars and opens with an antithetical theme (8 in 4 + 4 bars) with a prelude; Schubert extends the repetition that has been started to a total of 18 bars and modulates in the meantime in the parallel key of B flat major. The implementation-like B-part (bars 27-56) begins with a 4-bar model in B flat major and then modulates back up using sequences via G major (bar 35), C minor (bar 43) the dominant D major (bar 51). The recapitulation (mm. 57-88) in G minor appears varied (A ') and extended to 32 bars; Furthermore, in bars 69-80 Schubert takes up material from the middle section again. Both parts, i.e. middle part and recapitulation, are repeated in turn.
The cheerful trio in the variant key of G major is reminiscent of a lovely suburban farmer and thus differs significantly in character from the "Minuet". This time the A section comprises 16 bars, is built periodically (16 in 8 + 8 bars) and is repeated. The first movement is only orchestrated with the strings and the solo bassoon , in the subsequent movement all winds are added. The theme is characterized by folksong-like melodies, simple harmonics (mostly 1st and 5th levels) and multi-bar organ points in the cellos and basses. The B part (bars 17-32) also consists of 16 bars. As in the previous minuet, it begins with a model in the rather unusual minor dominant in D minor (mm. 17-22), continues sequencing in C major (mm. 23-28) and finally returns to the Dominant back. The double imitation by the flute and 1st oboe at the beginning of the respective phrases is remarkable (e.g. in bars 17 and 19). The recapitulation (mm. 33-40) appears shortened to 8 bars, since Schubert only uses the suffix of the original theme (see mm. 9-16), but otherwise adopts it verbatim. The middle section and recapitulation are repeated in their entirety.
The trio is followed by the obligatory resumption of the minuet ( Menuetto da capo ), but this time without the repetitions.
4th movement: Allegro vivace
B flat major, 2/4 time, 394 bars
The fourth movement - described by the musicologist Alfred Einstein as "the purest Haydn" - lacks any final character. Like the first movement, the final movement is also in sonata form. Schubert, however, dispenses with an effective coda here, whereby the movement or the symphony, according to Nikolaus Harnoncourt , "has an open ending, as if Schubert had to tell his musical story all over again".
The exposition (bars 1-152) begins with the main movement (bars 1-47) in B flat major, designed as a "classic three-part song" AA '/ B A' 'B A' 'and includes all repetitions as a whole 77 bars. The playful dance-like main theme (bars 1-16) is constituted as a 16-bar period, the antecedent of which ends in the strings in a semi-cue and the subsequent clause, which is supplemented by the woodwind, in a full closure; Contrary to common conventions, however, Schubert does not repeat the theme here. After an 18-bar middle section (bars 17-34), which remains largely on the dominant F major, the varied recapitulation follows in bar 35, which is now replaced by a melodic insert in the lower strings (bars 39-42) is supplemented and therefore initially comprises 12 bars and is then expanded to 13 bars when repeated. As in the first movement, the main movement and the transition are interlaced with one another, but are in clear contrast: In m.47 the otherwise cheerful mood of the movement suddenly changes into the dramatic, as Schubert surprisingly moves into the minor area (B flat minor, F minor) tilts. In the gloomy fortissimo of the full orchestra, excited strings tremoli , aspiring triad sequences with sharp accents ( fz ) in the violins, flutes and oboes, rapid ascending and descending runs in the strings and syncopated rhythms can be heard. As part of the 32-bar transition (bars 47-78), Schubert modulates from B flat minor to the dominant of F minor (instead of F major) using a model and sequence, which leads to the secondary theme that appears in bar 79 after a short fermata appears harmoniously refreshed in F major.
The side movement (bars 79-125) is also interlaced with the final group and is divided into a 16-bar, self-varied side theme (16 in 4 + 4 + 8 bars) in the strings, its repetition including the winds and a two-part theme , appendix introduced by the horns, evading to F minor (T. 111-125). The following final group (bars 125-152), on the other hand, has a more formulaic effect and in turn consists of a contrasting section (11 in 4 + 7 bars), its repetition and a concluding passage (bars 145-152). With the subtle introduction of triplets, Schubert expands the rhythmic spectrum of the movement; The three-part Fauxbourdon in bars 125-128 in the strings ( piano ) and its polyrhythmic continuation in the full orchestra ( forte ) in bars 129-135 are also noteworthy. The exposition should be repeated - common in the classical and early romantic periods - which is all too often disregarded in today's concert practice.
The 84-measure development (bars 153-236) is designed in three parts, mainly using main movement material and - rather untypically for Schubert - remains largely in the major area. An imitation (with the head motif of the main theme) designed model in B flat major, now extended by two bars, is sequenced first in C minor and then in A flat major. The dialogical continuation of the first section (bars 153-184) as an alternation of the low strings with the high woodwinds ends in bar 183 on the dominant E flat major. The second, also by means of imitations and Provision shaped portion (T. 185-208) modulated in turn by flat major VIA of the major to major, and F-209 lingers from T. Finally, in the sense of a return line to the dominant.
The recapitulation (mm. 237-394) is in the basic key of B major and largely corresponds to the original course of the exposition; only the main movement and the transition appear modified: Within the framework of the main movement (bars 237-283) Schubert dispenses with the repetitions and thus reduces the overall form to 47 bars with the structure AA 'B A' '. The transition (mm. 283–320), this time expanded to 38 bars, begins again in B flat minor, continues to sequence to F minor and then modulates gradually downwards via C minor to the dominant of the variant key B flat minor (instead of B flat major). The side movement (mm. 321–367) and the final group (mm. 367–394) are - apart from the transposition to B flat major - taken over almost verbatim.
A repetition of the development and recapitulation is not prescribed by Schubert.
occupation
1 flute , 2 oboes , 2 bassoons , 2 horns (in Bb, Eb and G), 1st violin , 2nd violin, viola , cello , double bass
World premiere and reception
The premiere of Schubert's 5th Symphony took place in the aforementioned context of the Hatwig orchestra in Vienna; the first public performance, however, only - thirteen years after Schubert's death - on October 17, 1841 under the direction of Michael Leitermayer. In addition to the 5th symphony, a shepherd's choir from the Singspiel Die Zwillingsbrüder , a vocal quartet for male voices, an aria from the opera Fierrabras as well as a hymn and an alleluia were heard .
The Wiener Zeitung Der Wanderer described the symphony on October 19, 1841 as "an excellent composition written in a less strict style, and therefore more accessible to the masses". The review in the Allgemeine Wiener Musik-Zeitung read:
“There is a high degree of piety for the great composer Franz Schubert in the idea of performing those pieces of music that are either not at all or at least less known to the musical public. But whether this is always done to the piousness of his fame, whether some tonal works, which the ingenious master perhaps designed for self-study, never intended to be performed, or, if he would now fail to do so at the moment of creation, - that is a question which I leave to his admirers to answer. For the organizer it is always praiseworthy and Mr. Leitermayer [the conductor] therefore deserves appreciation for this intention. [...]. - The performance of all the clay pieces could on the whole be called a rounded one [… You have to] take into account that the executives consisted of amateurs and students, but the performance was an examination academy. "
Schubert's friend Leopold von Sonnleithner described Symphony No. 5 as a “lovely symphony in B flat major”. At the same time as the 5th Symphony, Schubert composed other works in the key of B flat major: a string quartet fragment (D 601) and an overture (D 470) with the string quartet fragment as a preliminary stage.
The 5th 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 piety and perhaps made available to several people in copies".
In his time Antonín Dvořák was one of the few admirers of Schubert's early symphonies, in which - despite the influence of Haydn and Mozart - Schubert's individuality in the “character of the melodies”, the “harmonic progression” and the “many exquisite details of the orchestration” recognized.
In connection with the relatively short playing time of Schubert's 5th Symphony, the musicologist Hans Joachim Therstappen said that Schubert was continuing his "very personal exploration [...] of the symphony" despite the chamber music cast in the work.
literature
- "Franz Schubert - Symphony No. 8 in B minor ('Unfinished') D 759 and Symphony No. 5 in B flat major, D 485", in: Great composers and their music. Marshall Cavendish Verlag, 1990, pp. 105-128.
- Renate Ulm (Ed.): Franz Schubert's Symphonies. Origin - interpretation - effect. Dtv Bärenreiter, 2000, ISBN 3-423-30791-9 .
- Wolfram Steinbeck: "And a romance poured out over the whole thing" - 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. 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.
- Hans Swarowsky, Manfred Huss (Ed.): Preservation of the shape . Writings on work and reproduction, style and interpretation in music. Universal Edition AG, Vienna 1979, ISBN 978-3-7024-0138-2 .
- Helmut Well: Early Work and Innovation - Studies on Franz Schubert's “Youth Symphonies”. Kieler Schriften zur Musikwissenschaft, Volume 42. Kassel 1995.
- Arnold Feil, Douglas Woodfull-Harris (eds.): Study score (Urtext). Bärenreiter, Kassel 1997.
Web links
- 5th Symphony : Sheet Music and Audio Files in the International Music Score Library Project (IMSLP)
- Klassika - The German-language classical pages, https://www.klassika.info/index.html
Individual evidence
- ↑ a b Arnold Feil: Symphony No. 5 in B flat major (preface) . 3. Edition. Bärenreiter-Verlag, Kassel 1997, p. III .
- ↑ Work discussion with Nikolaus Harnoncourt on the occasion of the festival concert from Graz (2003). ORF & ARTE, 2003, accessed April 28, 2020 .
- ↑ Otto Brusatti (ed.): Schubert in the Wiener Vormärz. Documents 1829-1848. Graz, 1978, p. 138.
- ↑ Otto Erich Deutsch (Ed.): Schubert. The documents of his life (= Franz Schubert: New edition of all works. ) Kassel etc. 1964ff. (New Schubert edition), Kassel etc. 1964, p. 391.
- ↑ Johannes Brahms ' letter to Breitkopf & Härtel from March 1884, in: Johannes Brahms: Briefwechsel , Volume 14, p. 353.
- ^ John Clapham: Antonín Dvořák. Musician and Craftsman. London 1966 (Appendix II, pp. 296-305): Franz Schubert, by Antonín Dvořák. P. 296ff.
- ↑ Hans Joachim Therstappen : The development of form in Schubert, represented in the first movements of his symphonies. (= Collection of individual musicological presentations , 19th) Leipzig 1931, p. 48.