The document provides biographical information about Franz Schubert and analyzes his Unfinished Symphony. It notes that Schubert grew up in Vienna and showed musical talent from a young age. As a composer, he wrote over 1,000 pieces but only 100 were published in his lifetime. The document then analyzes the structure and key elements of the first movement of the Unfinished Symphony, including its unusual instrumentation, themes, mood changes, and development section. It highlights Schubert's innovative approaches to sonata form and orchestration in the piece.

2.  He was the only composer to have grown up in
Vienna from the 1st Viennese School.
 12th child in the family, hence the parents had
money problems.
 Writing over a thousand pieces of music and only
100 got published in his lifetime showed how little
recognition he received.
 Nowadays he is considered ‘musical genius’ and is
best known for his song writing (having written 603
songs). German translation for song is ‘lieder’. His
piano duets were very popular.

3.  At just 3 years old Schubert taught himself to
play the violin- talented or what!
 He had a good voice so auditioned for
Imperial Choir to also enter the school that
provided the best education. Salieri
(remember he had links with Mozart) was on
the panel. When Schubert sung he was
respected (considered well for his age)-taken
on as soprano.
Early Life
 Here he played 1st violin and people were
impressed by his phenomenal ability and so
he was taught piano, violin and counterpoint.
 Holtzer (organist) introduced Schubert to
Beethoven and he loved the music- Mozart
also influenced his composing.
 Becoming 1st violinist and Concert Master at
13 shows how talented Schubert was.

4.  At 15 Schubert’s voice broke but he could still
be educated at the school.
 Though at 16 he left and grudgingly became a
teacher so he didn’t have to enlist for the war.
He also wrote his first symphony at this age for
the director at the school (gift).
 On Sundays he would still compose at the
school.
Early Life
 From 17 he wrote 200-300 songs on two years
(famous one was Gretchen am Spinnracle).
 In 1815 Schubert met Schober (law student)
and lived with him for free because he had no
financial income.
 He met Vogl a baritone singer which led to the
formation of the Schubertiads who sung his
songs.

5.  When some of his operas were performed the
music critics didn’t like it as it was ahead of their
time (too grave/dark- romantic style).
 As he started to get drunk everyday his health
was affected.
 He found that if he dedicated his work to
people he was able to get it published- first was
in 1821.
Later Life
 1823 he became a ‘proper’ composer as his
music was done for orchestras.
 His work from the last years of his life were quite
sad/emotional as he was dying. Also as he
knew he was dying he wrote more.

6. He rarely composed with the piano as he
heard music in his head and just wrote it
down.
His mother understood Schubert’s desire
to become a musician whereas his father
wanted him to have good grades in the
major curriculum subjects.
Gypsy music and music heard in Hungary
influenced his writing.
As he was quite poor he couldn’t go to
see orchestral works, that’s why his music
was mostly chamber music.

7. A detailed analysis of each
part of the 1st movement
‘Allegro Moderato’- Sonata
form but slightly different in its
structure.

8.  Considered ‘unfinished’ as there are only 2
movements (normally 4 in a symphony).
Until 1978 it was known as the 7th symphony.
 When he wrote this it was popular to be
composing symphonies- highest form of
music-orchestral-huge works.
 Typical Classical Orchestra apart from the
odd number of trombones- some
modifications needed on the brass- crooks
to change key.

9. Traditional
Exposition
 First Subject is usually in the tonic key.
 Bridge (possible)
 Second Subject either dominant or relative major to tonic.
Development
 Develops ideas and modulates to relative keys.
Recapitulation + Coda
 1st subject and 2nd subject is changed to appear to be in the
tonic key.
 The coda reinforces the home key.

10. Exposition
 1st subject- A1 introductory theme (b.1-8), A2 principal theme (b.9-38) both in B
Minor- black- full of despair.
 Modulates with a pivot chord in bar 38. Then the 2nd subject (B) is the
subdominant (G Major- b.42-93.
 Bar 93-104 seems to be a development closing section. B. 104-110 modulates
back to B minor after a repeat of the exposition.
Development
 Based on A1 and has some B accompaniment. Doesn’t introduce any new ideas .
Recapitulation
 Starts with an extended A2 (main theme) which finishes at b.252 in F# major-
dominant.
 The 2nd subject returns in D major (relative major- should have been done in the
exposition and the recap should be in the tonic).
 At b.311 it is in the tonic major (wrong tonality) which was Schubert’s trait.
Coda
 Bar 322 returns to B minor and the coda starts at bar 328 which is based on the
introductory theme (A1).

11.  3 trombones was an unusual number, but
are there to add weight and effect- not
used melodically. They are there to provide
chords for harmonic structure.
 Double bass has more of an independent
part than in Baroque music, similar to
trombones it add textures with the low
timbre.
 The cello and double bass set the scene for
the movement making us strain our ears to
hear the quiet beginning.

12.  The woodwind instruments aren’t exploited much even
though they have expressive potential instead they
double and support the harmonies.
 Only the oboe and clarinet introduce the principal theme
in unison creating an unusual sound. They seem to emerge
from nowhere .
 The horns and trumpets aren’t widely used partly because
of their problem of changing to minor keys. Though they
are directed with a crook in D for horns so sound minor 7th
lower than written, and E for trumpets whom would sound
a major 3rd higher than notated. Therefore were they
being saved for the final movement of the symphony
which supports the idea that it was ”unfinished”.
 Timpani tuned to the tonic and dominant of B minor (B
and F#)- there to keep the key.

13.  The themes are very expressive and lyrical
which shows it was more romantic style
than classical.
 Bar 9 onwards ‘til the main theme is initiated
gets things moving with rustling strings.
 There are many mood changes within the
movement achieved by short links made
between sections.
 Loud, strong rhythmic tutti sections are
followed by quiet textures- rise and fall in
texture.

14.  When the 2nd subject is announced it is played
by the cello (bar 44. It is then passed to the
violins in octaves- contrast.
 Rhythmic counterpoint and syncopation is a
major characteristic of the movement e.g.
Cello accents the second beats of bars 53 and
54, the horns syncopate and sustain across the
bar lines to make the accompaniment more
continuous.
 Unexpected silences like in b. 62 where a quiet
chord of G major is expected. A
dramatic, loud and heavily-accented passage
follows with strings playing tremolo.

15.  Woodwind continue syncopation with a rapid
diminuendo up to b.73.
 Question and answer is present with imitative
sequence between cello/viola and violins in octaves
from b. 73.
 Programmatic writing- change in articulation and
dynamic changing the texture as when the double
bass comes in it alters from slurred to staccato.
 In the development a new world is created with
introductory theme descending to a 3rd lower than
the lowest note of the double bass. By bar 124 a
huge gap is given with the introduction of the other
strings and bassoon which creates a textural hollow.
They crescendo and there is rhythmic diminution.

16.  Powerful tutti at bar 184 with driving, dotted rhythms
and imitative figures.
 At bar 194 a climax of activity is reached where ffz, fz
and finally pp is scored.
 Recap.- develops A2 and avoids A1 being brought
back, the 2nd subject is revisited with the motif of
syncopated rhythm as the accompaniment (same
idea throughout movement); flutes play this for a
brighter sound.
 Scoring becomes canonical for example from bar
312 until the coda.
 Coda uses restates the start and bases it on this, it
reaffirms the tonic key- cadences suggest the
movement is nearing an end.