Schubert, "Unfinished" symphony. Schubert, "Unfinished" symphony Schubert's Symphony 8 unfinished in F

Schubert. Symphony No. 8 in B minor, "Unfinished"

Beethoven's music, in which echoes of the French Revolution were still heard, were supplanted by works of entertainment genres. The external background of the life of Franz Schubert, who was a contemporary of Beethoven, was a cheerful, “dancing” Vienna. Interest in the fate of mankind, the harmony of reason and reality were relegated to the background. Schubert's creative plans, the need for spiritual communication found sympathy and support only in a small circle of friends, people devoted to art. In the music of Schubert, for the first time, the character traits, the emotional structure of a person who was new then in the 19th century, were revealed. The artist expresses his attitude to life, the world around him through the lyrics of the feelings and experiences of a real, ordinary person. And for this, other forms and other means of expression are needed that convey the immediacy of the statement.

A lively feeling of the rhythm of music, a continuously lasting melody can be compared with a person's speech, a feeling of his breathing. We always hear whether he is calm or excited, happy or sad, how his condition changes. Listening to the musical intonation, you can always understand the meaning of music, feel its expressiveness, the power of influence.

Franz Schubert is an unsurpassed author of sonatas, symphonies, string quartets and over six hundred songs. Schubert was one of the founders of German romantic music. Schubert's life was short and full of disappointments. But he left behind a musical legacy of unprecedented expressiveness and richness of melodies.

Biography

Franz Peter Schubert was born in the suburbs of Vienna, the town of Lichtental. The family was large - fourteen children, of whom only five survived. His father, Franz Theodor Schubert, was a school teacher, and in his youth the future composer tried his hand at pedagogy. But it soon became clear what his true calling was. Schubert sang in the choir of the Vienna Imperial Chapel, where his teacher was Kapellmeister Antonio Salieri, a former rival of Mozart.

The years of youth were full of promises and hopes. Stocky and ugly, Schubert still did not lack friends and admirers - people who plowed open the doors of their houses, provided protection in musical circles and performed his music.

Then the famous Schubertiades began in Viennese salons or when traveling out of town, at which many of the composer's works were first performed. This helped his name gain popularity in Viennese society, including in artistic circles. However, in all other respects, Schubert was pursued by failures. He worked diligently on several operas and other stage works, in particular on the music for Rosamund, but few were widely recognized. His health was rapidly deteriorating. In a state of deepest despair, he wrote of himself as "the most damned, unfortunate creature in the world."

twists of fate

Through mutual acquaintances in Viennese society, Schubert was introduced to the baritone Johann Michael Vogl. Thanks to his beautiful voice and imposing appearance, he was already a star of the Vienna Opera, and he was not immediately impressed by the inexperienced and awkward young composer. “You are throwing your thoughts around,” he grumbled at Schubert. But he soon recognized the genius of the young man and became his most ardent supporter.

Vogl contributed to the production of several of Schubert's operas and sang in some of them. Even more significant was his support for Schubert as a pioneer and first master of the German art song.

Fogl sang many of the composer's songs from the Schubertiades, and also took a friend on tour.

The tour in 1819 was especially happy for the composer. She and Vogl settled in the countryside with their friend Albert Stadler. At this time, Schubert composed a charming piano quintet, in which he included the melody of his song "Trout", probably sung often and with pleasure by Vogl. After the death of the composer, Fogl continued to perform his songs for many years.

Fame in narrow circles

Vienna was famous for the traditions of home music-making, common among people of all classes. However, despite the success of his music among amateurs and the continuation of the Schubertiades, otherwise luck smiled at him less and less. Several operas in a row - "Alfonso and Estrella", "Conspirators, or Domestic War", "Ferrabras" - were not staged (primarily, the librettists are to blame for their unfortunate fate). The successful performance of the music for Rosamund somewhat rewarded the composer. The works were printed, but more often - small ones, which did not bring significant fees. He spent the summer of 1824 as a teacher in the Esterhase family, and in 1825, together with Vogl, he again went to Upper Austria.

The year 1826 brought yet another disappointment: Schubert's request was not granted for granting him the place of Kapellmeister of the Court Chapel, where he once sang as a child and, speaking for the last time, left a record in the alto part of Peter Winter's mass: “Schubert, Franz, crowed in last time July 26, 1812.

untimely death

Concert trips soon also became impossible for him due to deteriorating health. The composer's way of life, by nature very sociable, involuntarily became more and more withdrawn, he was often forced to spend time locked up.

Schubert was in awe of Beethoven, who also lived and worked in Vienna. He was at the premiere of the great composer's Ninth Symphony. Schubert seemed to have a premonition of his own demise and worked feverishly to complete his last and best compositions - the vocal cycle "Winter Road", the Ninth Symphony and the String Quintet in C major.

Inspiring was the news that reached Schubert about the approval of his talent by Beethoven himself. According to Schindler, Beethoven's friend, who introduced him to Schubert's songs, Beethoven did not part with them for a long time and repeatedly exclaimed: "Truly, a divine spark lives in Schubert."

Schubert's shyness, due to which he only dared to look at his deity from afar, Beethoven's complete deafness, his isolation prevented their rapprochement.

1828, the last year of the composer's life, finally brought him the recognition of the Viennese public. The author's concert organized in Vienna caused a long-awaited major success. But the partial successes of recent times could no longer restore the body, undermined by internal tension and prolonged deprivation. From the autumn of 1828, Schubert's health deteriorated.

Franz Schubert died on November 19, 1828 and was buried next to Beethoven. The composer's friend, playwright Franz Grillparzer wrote on his grave: "Music buried here a rich treasure and even more beautiful hopes."

Schubert. Symphony No. 8 in B minor, "Unfinished"

Thanks to Schubert, a new type of lyric-dramatic symphony appeared. One of the first masterpieces of world musical culture was his symphony No. 8. “I sang songs and sang them for many years. When I sang about love, it brought me suffering, when I sang about suffering, it turned into love. So love and suffering tore apart my soul., - wrote F. Schubert. This idea determined the content of Symphony No. 8. It was a generalization of the images of the composer's vocal works, which grew to the meaning of vital problems: man and fate, love and death, ideal and reality.

In 1865, one of the Viennese bandmasters compiled a program for a concert of old Viennese music. To do this, he sorted through piles of old manuscripts. In one unsorted archive, he discovered a previously unknown score by Schubert. It was a B minor symphony. It was performed for the first time in December 1865 - 43 years after its creation.

At the time when Schubert wrote this symphony, he was already known as the author of beautiful songs and piano pieces. But none of the symphonies he wrote was publicly performed. The new B minor symphony was first created as an arrangement for two pianos, and then as a score. In the piano version, sketches of three movements have been preserved, but the composer recorded only two in the score. Therefore, later it was called "Unfinished".

Until now, there are disputes all over the world whether it is incomplete, or whether Schubert fully embodied his plan in two parts instead of the four accepted at that time.

There is an opinion that the composer was going to write an ordinary four-movement symphony. His ideal, to which he sought to approach, was Beethoven. Schubert's Grand Symphony in C major proved this. And having written these two parts, he could just get scared - they were so different from everything written in this genre before him. Probably, the composer did not understand that what he created was a masterpiece, opening up new paths in the development of the symphony, considered the symphony a failure and left the work.

However, the two parts of this symphony leave the impression of amazing integrity, exhaustion. The unfinished symphony is a new word in this genre, which opened the way for romanticism. With it, a new theme entered symphonic music - the inner world of a person who acutely feels his discord with the surrounding reality.

The symphony, almost forty years after the death of the composer, gained immense popularity. Schubert succeeded in the impossible: to incredibly harmoniously tell about melancholy and loneliness, to turn his despair into beautiful melodies. Many attempts were made to finish the “unfinished” symphony, but these versions did not take root in concert practice.

The first movement of the symphony is written in sonata allegro form.

The symphony begins with a gloomy introduction - a kind of epigraph. This is a small, concisely stated topic - a generalization of a whole complex of romantic images: languor, an "eternal" question, secret anxiety, lyrical reflections. It is born from somewhere deep in unison of cellos and double basses.

She freezes like an unresolved issue. And then - the quivering rustle of violins and against its background - the chant of the main theme. This expressive, imploring melody is performed by oboe and clarinet. According to the musical and poetic image and mood, the theme of the main part is close to works such as nocturne or elegy.

Gradually, the tape of the melody unfolds, becoming more and more tense. It is replaced by the soft waltz theme of the side part. It looks like an island of serene peace, a bright idyll. But this idyll is interrupted by an orchestral tutti. (The word tutti in Italian means "everything". This is the name of a fragment of a piece of music performed by the entire orchestra). Drama comes into its own. The theme of the side part seems to be trying to break through the crushing chords to the surface. And when this theme finally returns, how much it has been changed - broken, tinged with sorrow. At the end of the exposure, everything freezes.

The development is built on the theme of the introduction. Musical development reaches a colossal climax. And suddenly - complete devastation, only a lonely dreary note remains. The reprise begins. Another circle of dramatic development falls on the coda. It contains the same tension, the pathos of despair. But there is no more strength to fight. The last bars sound like a tragic epilogue.

The second part is a world of other images. This is the search for new, bright sides of life, reconciliation with it. As if the hero, who has experienced a spiritual tragedy, is looking for peace. Both themes of this movement are remarkable for their amazing beauty: both the broad main song and the secondary, imbued with subtle psychological nuances.

The composer completes the symphony very effectively: the initial theme gradually fades out and dissolves. Silence returns...

“Schubert's music,” wrote B. Asafiev, “can say much more than any memoirs and notes, because it itself sounds like an inexhaustibly meaningful, emotionally objective diary.”

Questions:

1. In what year was the symphony written? When was its first performance?
2. Why is the symphony called "Unfinished"?
3. How many symphonies did Schubert write?
4. What is the theme of the symphony?
5. How does the nature of the work affect the orchestration?
6. Describe the structure of the parts of the symphony.

Presentation:

Included:
1. Presentation - 10 slides, ppsx;
2. Sounds of music:
Schubert. Symphony No. 8 in B minor "Unfinished":
I. Allegro moderato, mp3;
II. Andante con moto, mp3;
Fragments of the first part of the symphony:
Introduction, mp3;
Main part, mp3;
Side part, mp3;
3. Accompanying article, docx.

The romantic symphonism created by Schubert was determined mainly in the last two symphonies - the 8th, in h-moll, which received the name "Unfinished", and the 9th, in C-dur-noy. They are completely different, opposite to each other. The epic 9th is imbued with a sense of the all-conquering joy of being. "Unfinished" embodied the theme of deprivation, tragic hopelessness. Such sentiments, reflecting the fate of a whole generation of people, had not yet found a symphonic form of expression before Schubert. Created two years before Beethoven's 9th symphony (in 1822), "Unfinished" marked the emergence of a new symphonic genre - lyrical-psychological.

One of the main features of the h minor symphony concerns its cycle consisting of only two parts. Many researchers tried to penetrate into the "mystery" of this work: did the brilliant symphony really remain unfinished? On the one hand, there is no doubt that the symphony was conceived as a 4-part cycle: its original piano sketch contained a large fragment of 3 parts - a scherzo. The lack of tonal balance between the movements (h-minor in the I and E-dur in the II) is also a strong argument in favor of the fact that the symphony was not conceived in advance as a 2-part. On the other hand, Schubert had enough time to complete the symphony if he wanted to: following the "Unfinished" he created a large number of works, incl. 4-part 9th symphony. There are other arguments for and against. Meanwhile, "Unfinished" has become one of the most repertoire symphonies, absolutely not causing the impression of understatement. Her plan in two parts was fully realized.

Idea concept The symphony reflected the tragic discord between the progressive man of the 19th century and the entire surrounding reality. Feelings of loneliness and deprivation for the first time appeared in her not as the tone of a separate emotional state, but as the main "meaning of life", as attitude. The main tonality of the work is characteristic - h-moll, rare in the music of the Viennese classics.

The hero of "Unfinished" is capable of bright outbursts of protest, but this protest does not lead to the victory of the life-affirming principle. In terms of the tension of the conflict, this symphony is not inferior to the dramatic works of Beethoven, but this a conflict of a different plan, it is transferred to the lyrical-psychological sphere. This is the drama of experience, not action. Its basis is not the struggle of two opposite principles, but the struggle within the personality itself.. This is the most important feature of romantic symphonism, the first example of which was Schubert's symphony.

1 part

The very first image of the symphony given in its entry, is quite unusual: in the unison of cellos and double basses, a gloomy theme quietly arises, interrogatively fading on D of the main key (the main theme will originate from the same sound). This is the epigraph to the entire symphony and the main, guiding thought of the first part, covering it in a vicious circle. It sounds not only at the beginning, but also in the center, and in the conclusion of Part I, it is a constant, relentless idea. Moreover, the intonations of joyless reflection gradually develop into a tragic pathos of despair.

With the introduction mainTopics Schubert uses a characteristic method of song technique - the presentation of background material before melody intro. This uniform accompaniment of the strings rushing forward sounds right up to the introduction of the side one, uniting the entire thematic line (also a song technique). The accompaniment creates a feeling of anxiety, while the theme itself has a touchingly sad character and is perceived as a complaint. The composer found expressive instrumentation - a combination of an oboe with a clarinet, which softens some of the sharpness of the main timbre.

A characteristic feature of the exposition of the "Unfinished" symphony is the direct comparison of the main and secondary themes, without a developed linking part. This is a characteristic feature of song symphonism, fundamentally opposed to Beethoven's logic of successive transitions. Main and side themes contrast-us, but not conflict, they are compared as different spheres of song lyrics.

FROM side party the first dramatic situation in the symphony is connected: the bright and wonderful, like a dream, theme (G-dur, cello) suddenly breaks off, and after a general pause, against the background of thunderous trembling minor chords, the initial fifth intonation of the main theme mournfully sounds. This tragic accent strikes with a sharp surprise and is associated with the collapse of a dream when it collides with reality (a typically romantic device). At the end of the exposition, in concentrated silence, the theme of the introduction sounds again.

All development is built solely on the material of the introduction. Schubert is here the creator monologue the type of development so characteristic of the romantic symphony. The appeal to him was caused by a special dramatic idea: the composer did not seek to capture the struggle of opposite principles, overcoming obstacles. His goal is to convey the hopelessness of resistance, the state of doom.

The end-to-end development of the theme of the introduction takes place in the development of 2 stages. The first of them is connected with the exacerbation of lyrical-dramatic expression. The melodic line of the theme does not go down, but rises up in a strong crescendo. An increase in emotional tension leads to culmination I - a conflict dialogue between a formidable introductory motive and dreary-sounding syncopations from a side part (it is performed three times). The first phase of development ends with a thunderous introduction to the tutti of the orchestra in e-moll.

The second stage of development is subject to the demonstration of the inevitable onslaught of fatal forces. The intonations of the theme become more and more rigid, sharp, imperious. But, approaching the end of the development to the ultimate climactic explosion, the tragic intensity suddenly dries up. This technique of "scattering" the climax before the reprise is very characteristic of Schubert.

AT reprise there are no significant changes, only the side part expands in volume and becomes more sad (transition to h-moll). The absence of change after the agonizing impulses, anxieties and struggles of development takes on a deep meaning: "all in vain." There comes an awareness of the insolubility of the conflict, humility before the tragic inevitability. This output gives code, where the theme of the introduction returns again, acquiring an even more mournful tone.

part 2

In part II, another characteristic side of romanticism appears - appeasement in a dream. The contemplative peace and dreamy sadness of Andante are perceived not as overcoming the conflict, but as reconciliation with the inevitable (similar to “The Beautiful Miller’s Girl”). The composition of Andante is close to sonata form without elaboration. At the same time, much of it goes back to 2-part song forms:

• song and lyrical themes,
• replacement of a thematic development by a variant melodic development,
• closure of the main theme.

Songful, wide, full of quiet contemplative peace and tranquility, main topic sounds in violins and violas after a short introductory phrase (a descending scale of pizzicato double basses against the background of soft chords of horns and bassoons).

Like part I, a new musical thought - side theme- is introduced not as an opposing force, but as a switch to another emotional sphere - elegiac. Touching and meek, childishly naive and serious at the same time, she brings to mind pp. Part I: syncopated accompaniment (violins and violas), preparing the introduction of the melody, a sudden darkening shift into the realm of dramatic experiences. But the meaning of these themes is completely different. If in Part I a secondary theme opened up access to the world of a bright dream, then in Andante it characterizes a state of brokenness, defenselessness. AT reprise both themes are presented almost without changes (the tonality of the secondary is a-moll). The coda, built on individual motifs of the main theme, returns to the mainstream of peaceful contemplation.

In Schubert, h-moll as the main key of the work is not found in any other instrument. composing (except dancing). In songwriting, on the contrary, he often uses h-moll, associating it, as a rule, with the embodiment of a tragic, insoluble situation (“Double” to the words of Heine).

"Unfinished Symphony" in B minor is one of the most famous works of the Austrian composer Franz Peter Schubert, dedicated to the amateur musical society in Graz. In 1824 the first two parts were presented.

In 1865, the Viennese court bandmaster Johann Herbeck, compiling the program of a concert of old Viennese music, rummaged through piles of forgotten manuscripts. In the unsorted archive of the chairman of the Styrian Amateur Musical Society A. Huttenbrenner, he discovered a previously unknown score by Schubert. It was a B minor symphony. Under the direction of Herbeck, she sounded for the first time on December 17, 1865 in a concert of the Vienna Society of Music Lovers.

Franz Schubert created the Unfinished Symphony during the last months of 1822. During these yearsSchubert wasalready widely known in Vienna as the author of many beautiful songs and popular piano pieces, but as a symphonist no one except his closest friends knew himand none of his symphonies have been publicly performed. The new symphony was first created as an arrangement for two pianos, and then as a score. In the piano edition, sketches of three movements of the symphony have been preserved, while the composer recorded only two in the score. Schubert did not return to her again, becausethe symphony was called: "Unfinished"

Gustav Klimt "Schubert at the piano" 1899

Debates are still ongoing about whether this symphony is really unfinished, or whether Franz Schubert fully embodied his plan in two parts instead of the generally accepted four. Its two parts leave the impression of amazing integrity, exhaustion, which allows some researchers to argue that the composer did not intend to continue, since he embodied his idea in two parts. However, sketches of the score of the third movement have been preserved, for some reason left in the sketch. Moreover, among the music for the play "Rosamund", written in the same period, there is an intermission, also written in B minor - a key extremely rarely used - and similar in character to the traditional symphonic finale. Some researchers of Schubert's work are inclined to believe that this intermission, coupled with sketches of a scherzo, constitutes the usual four-movement cycle.

This was not his first symphony, which turned out to be unfinished: before that, in August 1821, he wrote a symphony in E major, it is considered the Seventh, the score of which was written in sketch. In general, to create a work that begins in B minor and ends in E major,at the time of Schubertwas completely unthinkable.

About the life and work of the outstanding Austrian composer Franz Schubert in 1968, the good old Soviet TV show "Unfinished Symphony" was released.

Schubert Kalyagin is very organic and charming. And Vedernikov in the most penetrating way singsbehind the scenes

Despite some naivety and quite natural for its time and the chosen genre didacticity,the movie is interesting. The conscientiousness of the authors in the transfer of the portrait resemblance of the characters and their game is impressive.

Vocal parts: A. Vedernikov, E. Shumskaya, G. Kuznetsova, S. Yakovenko.

The melody of the first movement is simple and expressive, as if praying for something, intoned by the oboe and clarinet. An agitated, quivering background and outwardly calm, but filled with internal tension cantilena create the brightest expressive, typically romantic image. Gradually, the tape of the melody unfolds. The music becomes more and more tense, reaching fortissimo. Without a binder, obligatory for the Viennese classics, separated only by a laconic transition (stretching sound of horns) from the main part, a side part begins. A soft waltz melody is sung by the cellos at ease. There is an island of serene peace, a bright idyll. Measured swaying, as if lulling, accompaniment. This theme acquires an even brighter character when it is picked up and transferred to a higher register of the violin. Suddenly, the free, unconstrained chant-dance breaks off. After complete silence (general pause) - an explosion of orchestral tutti. Another pause - and another burst of thunder tremolo. The idyll is interrupted, the drama comes into its own. Crushing chords rise violently, fragments of the accompaniment of a secondary theme answer with plaintive groans. She seems to be trying to break through to the surface, but when she finally returns, her appearance has changed: she is broken, colored with sorrow. At the end of the exposure, everything freezes. Returns, like inevitable fate, the mysterious and ominous motive of the entry. The development is built on the opening motive and intonations of the accompaniment of the side part. Drama intensifies, developing into tragic pathos. Musical development reaches a colossal climax. Suddenly there is complete prostration. Exhausted fragments of motives dissipate, only a lonely dreary note remains. And again, the introductory theme creeps in from the depths. The reprise begins. The coda, in the tradition of Beethoven, was created as a second development. It contains the same painful tension, the pathos of despair. But the fight is over, there is no more strength. The last bars sound like a tragic epilogue.

The second part of the symphony is a world of other images. Here - reconciliation, the search for other, brighter sides of life, contemplation. As if the hero, who has experienced a spiritual tragedy, is looking for oblivion. Bass steps (double bass pizzicato) sound measuredly, they are superimposed by a simple, but surprisingly beautiful violin melody, dreamy and sincere. Repeatedly repeated, it varies, overgrown with expressive chants. Short-term dynamic rise of tutti - and again a calm movement. After a short connection, a new image appears: the melody is naive and, at the same time, deep, more individual than the first theme, sad, in warm, reminiscent of a human voice, the timbres of the clarinet and the oboe replacing it, filled with lively trepidation. This is a side part of the laconic sonata form. It also varies, acquiring at times an agitated character. Suddenly there is a turning point in its smooth flow - it sounds dramatic in a powerful presentation of the entire orchestra. But a short burst is replaced by an expressive, imitation-rich development: this is a brief development, ending with long chords of strings, the mysterious calls of horns and individual woods. Subtle orchestral sound recording leads to a reprise. In the code, there is a fading, dissolution of the initial theme. Silence returns...

L. Mikheeva

belcanto.ru ›s_schubert_8.html

The romantic symphonism created by Schubert was determined mainly in the last two symphonies - the 8th, in h-moll, which received the name "Unfinished", and the 9th, in C-dur-noy. "Unfinished" embodied the theme of deprivation, tragic hopelessness. Such sentiments, reflecting the fate of a whole generation of people, had not yet found a symphonic form of expression before Schubert. Created two years before Beethoven's 9th symphony (in 1822), "Unfinished" marked the emergence of a new symphonic genre - lyrical-psychological.One of the main features of the h-moll symphony concerns its cycle consisting of only two parts. Many researchers tried to penetrate into the "mystery" of this work: did the brilliant symphony really remain unfinished? On the one hand, there is no doubt that the symphony was conceived as a 4-part cycle: its original piano sketch contained a large fragment of 3 parts - a scherzo. The lack of tonal balance between the movements (h-minor in the I and E-dur in the II) is also a strong argument in favor of the fact that the symphony was not conceived in advance as a 2-part. On the other hand, Schubert had enough time to complete the symphony if he wanted to: following the "Unfinished" he created a large number of works, incl. 4-part 9th symphony. There are other arguments for and against. Meanwhile, "Unfinished" has become one of the most repertoire symphonies, absolutely not causing the impression of understatement. Her plan in two parts was fully realized. Idea concept The symphony reflected the tragic discord between the progressive man of the 19th century and the entire surrounding reality. Feelings of loneliness and deprivation for the first time appeared in her not as the tone of a separate emotional state, but as the main "meaning of life", as a worldview. The main tonality of the work is characteristic - h-moll, rare in the music of the Viennese classics. The hero of "Unfinished" is capable of bright outbursts of protest, but this protest does not lead to the victory of the life-affirming principle. Such is the most important feature of romantic symphonism, the first example of which was Schubert's symphony. The very first image of the symphony given in its entry, is quite unusual: in the unison of cellos and double basses, a gloomy theme quietly arises, interrogatively fading on D of the main key (the main theme will originate from the same sound). This is the epigraph to the entire symphony and the main, guiding thought of the first part, covering it in a vicious circle. It resounds not only at the beginning, but also in the center, and in the conclusion of Part I, it is a constant, relentless idea. Moreover, the intonations of joyless reflection gradually develop into a tragic pathos of despair. With the introduction main theme Schubert uses a characteristic technique of song technique - the presentation of background material before the introduction of the melody. This unified accompaniment of strings rushing forward sounds right up to the introduction of the side one, uniting the entire thematic line (also a song technique). The accompaniment creates a feeling of anxiety, while the theme itself has a touchingly sad character and is perceived as a complaint. The composer found expressive instrumentation - a combination of oboe and clarinet, which softens some of the harshness of the main timbre. A characteristic feature of the exposition of the "Unfinished" symphony is the direct comparison of the main and secondary themes, without a developed linking party. This is a characteristic feature of song symphonism, fundamentally opposed to Beethoven's logic of successive transitions. The main and secondary themes are contrasting, but not conflicting; they are compared as different spheres of song lyrics. FROM side party the first dramatic situation in the symphony is connected: the theme, bright and wonderful, like a dream, suddenly breaks off, and after a general pause, against the background of thunderous trembling minor chords, the initial fifth intonation of the main theme mournfully sounds. This tragic accent strikes with a sharp surprise and is associated with the collapse of a dream when it collides with reality (a typically romantic device). At the end of the exposition, in concentrated silence, the theme of the introduction sounds again. All development is built solely on the material of the introduction. Schubert acts here as the creator of the monologue type of development, so characteristic of the romantic symphony. The appeal to him was caused by a special dramatic idea: the composer did not seek to capture the struggle of opposite principles, overcoming obstacles. His goal is to convey the hopelessness of resistance, the state of doom. The end-to-end development of the theme of the introduction takes place in the development of 2 stages. The first of them is connected with the exacerbation of lyrical-dramatic expression. The melodic line of the theme does not go down, but rises up in a strong crescendo. An increase in emotional tension leads to culmination I - a conflict dialogue between a formidable introductory motive and dreary-sounding syncopations from a side part (it is performed three times). The first phase of development ends with a thunderous introduction to the tutti of the orchestra in e-moll. The second stage of development is subject to the display of the inevitable onslaught of fatal forces. The intonations of the theme become more and more rigid, sharp, imperious. But, approaching the end of the development to the ultimate climactic explosion, the tragic intensity suddenly dries up. This technique of "scattering" the climax before the reprise is very characteristic of Schubert. AT reprise there are no significant changes, only the side part expands in volume and becomes more sad (transition to h-moll). The absence of change after the agonizing impulses, anxieties and struggles of development takes on a deep meaning: "all in vain." There comes an awareness of the insolubility of the conflict, humility before the tragic inevitability. This output gives code, where the theme of the introduction returns again, acquiring an even more mournful tone. In Part II stands another characteristic side of romanticism - appeasement in a dream. The contemplative peace and dreamy sadness of Andante are perceived not as overcoming the conflict, but as reconciliation with the inevitable (similar to “The Beautiful Miller’s Girl”). The composition of Andante is close to sonata form without elaboration. At the same time, much of it goes back to 2-part song forms: song-lyrical thematism, replacement of thematic development by variant melodic development, closed presentation of the main theme. Songful, wide, full of quiet contemplative peace and tranquility, main topic sounds on violins and violas after a short introductory phrase Like part I, a new musical thought - side theme- is introduced not as an opposing force, but as a switch to another emotional sphere - elegiac. Touching and meek, childishly naive and serious at the same time, she brings to mind pp. Part I: syncopated accompaniment (violins and violas), preparing the introduction of the melody, a sudden darkening shift into the realm of dramatic experiences. But the meaning of these themes is completely different. If in Part I a secondary theme opened up access to the world of a bright dream, then in Andante it characterizes a state of brokenness, defenselessness. AT reprise both themes are presented almost without changes (the tonality of the secondary is a-moll). The coda, built on individual motifs of the main theme, returns to the mainstream of peaceful contemplation.

Franz Schubert "Unfinished Symphony"

Few people know, but one of the most recognizable works of Schubert did not receive recognition during his lifetime. In the musical text of the composition, all the most characteristic of the romantic period is encrypted. Music leaves an amazing aftertaste. There is a mystery about her because she did not fit into the standards. By reading the page, everyone can learn interesting facts, history and content, as well as enjoy the wonderful performance.

History of creation

The composer actively worked on the work from 1822 to 1823. At first, a piano version was composed, then two of the three movements were orchestrated. The scherzo remained in outline. Musicologists suggest that the author decided that the continuation of the thought would be redundant and lead to the loss of ideological content, but this fact has not been confirmed. Until now, no one knows why he was forced to abandon the classical form.

However, the fact that the composition is not completed is completely refuted, since after the end of the work Schubert actively engaged in other projects. As his friends note, he did not start new works until he completed the old one. Moreover, he gave the score to Anselm Hüttenbrenner, who himself was a well-known musician specializing in the symphonic genre. But he, fearing that his friend would be disgraced, left the score unattended. Soon, Franz forgot about his own work.

Even after Schubert's death, the manuscript was gathering dust with Hüttenbrenner. One fine day in 1865, the Austrian conductor Gerbeck was sorting out unpublished notes. He was looking for interesting compositions for a concert dedicated to Viennese music of the past. So a hitherto unknown record was found. In the same year, the premiere took place, which was a resounding success with the public.

A year later, the symphony was printed and began to be performed all over the world. So the glory of genius came to Franz Schubert.

Interesting Facts

• There is a version that parts III and IV were lost, since they were not kept by close friends, to whom the author often showed his own creations.
• Conductor Johann Gerbeck, the first to perform the symphony, discovered it by accident.
• Schubert constantly forgot about his own works. So he could improvise for hours, creating true masterpieces. When Franz was brought sheet music of his compositions, he always said the same thing: “What a wonderful thing! And who is the author?
• Some musicians tried to finish the ending. These include the English musicologist Brian Newbauld and the Russian scientist Anton Safronov.
• At the first performance, the finale from the Third Symphony was performed as an addition.
• This is an absolutely complete work, since two years had passed since its creation, when he nevertheless decided to show the symphony to his closest friend.
• The presentation took place only forty years after the death of the first romantic.
• Score sketches of the Scherzo were found in unpublished musical notations.
• Schubert's friends frankly believed that the large form was not given to him in the essay. They often laughed at Franz for his attempts to create a complete symphonic cycle.
• It is believed that the author did not have time to complete the composition due to death, which of course is a myth.

Conductors

It's no secret that the composition is quite famous in musical circles. It is performed on the big stage by the best symphony orchestras. But not everyone succeeds in bringing the listener closer to the true intonation sound characteristic of that era.

The exemplary performances are considered to be:

• Nikolaus Harnoncourt emphasized transparency and lightness. Accuracy in dynamic terms made the music more refined and elegant.
• Leonard Bernstein has different views from the previous musician. Drama and intensity are fundamental in its interpretation.
• Herbert von Karajan highlights the theme of the introduction, defining the main place for it.

The "unfinished" symphony is complete, the content speaks of this. The composer raises eternal questions about the fate of man. In a two-part cycle, the question seems to be desperately asked: “What is the difference between fiction and fantasy, where to find the boundaries of reality?”

The symphony consists of two parts, while they are not opposed to each other, but complement each other. The only thing to note is the difference in the mood of the lyrics:

• I. Lyrical experiences.
• II. Contemplation, enlightened daydreaming.

Throughout Part I the hero is in search of an ideal. He rushes about, his soul is tormented by vague doubts, he loses faith in finding happiness. Further, there is an understanding that happiness is inside, it does not need to be searched for in the world. You just have to live and enjoy every given day. Life is beautiful in contemplation.

The cycle opens with a gloomy introduction, which summarizes a whole range of images characteristic of romanticism: eternity, anxiety, languor. The melody is descending, creating the color of the midnight fog. This is the obscure consciousness of the lyrical hero, in which everything is in chaos. The theme of the introduction plays a formative role, it also carries the main idea of ​​the work. In the future, it will appear before development and code. It is noteworthy that the musical episode is opposed to the following intonation material.

In the main part, the voice of the hero enters. This is a minor song theme in a plaintive timbre flute With oboe is a vivid indicator of Schubert's composer's individuality. The lyrics of the song allow you to express all the emotional intensity. Characteristic accompaniment adds awe and excitement. The pendulum starts to swing. The mood borders on elegy and nocturne.

In the side part, a more active image can be traced. Syncopated rhythm, simple harmonic warehouse - all this is also song attributes, but the character has changed to a more positive and cheerful one. The tonality of G major, is in the tertian ratio, perfectly conveys the mood. Further, the composer will actively play with the mode of the party, now darkening it, then making it energetic again.

The dynamics gradually increase, the sonority increases. The dotted rhythm represents the irregular beating of the heart. The music loses its playfulness and begins to obey the atmosphere of tragedy and drama. Suddenly, a new episode in the key of C minor invades. This is a turning point. General pause. There are no more words. But you have to get up and move on. The determination to continue on the path is reflected in the dynamics of the forte, but it was suppressed by the symbol of the tragic - the altered subdominant chord. After emotional exclamations, the material of the Side Party is restored.

Development consists of two sections. It is preceded by the material of the introduction, the theme of which turns into ariose singing against the background of accompaniment. The theme sounds at the culmination point in the chord texture. All interrogative intonations have been exhausted in it, it sounds affirmative. A semantic metamorphosis has taken place. The theme materialized from thought into reality. The conflict opened up through transformation.

There will no longer be dramatic collisions in the reprise, everything has happened. The coda is based on the intonation of the introduction, which gives the impression of an arch.

II part. Andante con moto is the epitome of sad detachment. Delicate harmonic colors have unusual tonal transitions. The change of major and minor suggests the idea of ​​changes in the life of the lyrical hero. The bright sound of the string group in combination with wind instruments prevails. This orchestration technique allows you to express the poetry and contemplative mood associated with being in nature. The lyrical hero has finally found his safe haven, which gives him peace and balance. Nothing else disturbs, does not overshadow his consciousness. The hero is free.

The work became innovative in this genre, and became a model of the era of Romanticism. The following qualities can be attributed to the characteristic features of the new era:

• Improvement of dramaturgy;
• The appearance of another in the structure of the conflict;
• Character difference;
• Attraction to the program;
• Other presentation;
• New style;
• Internal and external scaling;
• Increasing the form of the statement;
• Rejection of the cyclic structure;
• Updated composition.

The main difference between the works of Schubert in large form is the external preservation of the traditional structure with serious changes in thematic. In the era of romantics, it was not customary to hide one's own feelings; they could no longer fit into the standards of classicism.

The artistic significance of this symphonic work cannot be underestimated. Thanks to the composer, a new lyric-dramatic type of symphony appeared in instrumental music. In the future, many geniuses used the essay as a model for building the right dramatic line.