Symphony No. 3 (Schubert)
Symphony No. 3 in D major ( D 200 ) is a Symphony by Franz Schubert.
- 4.1 documents
- 4.2 Further Reading
Formation
Schubert wrote his Symphony No. 3 between the 24th of May (two months after he had completed the previous Symphony No. 2) and 19 July 1815. Merely shortly after the May 24, 1815 began after 65 cycles an interrupt to lasted 11 June 1815 and was probably caused by a lack of note paper. Schubert moved in this time of zwölfzeiligem to sechzehnzeiligem note paper. The pure composition time for a total of 56 Sheet music full symphony amounts to nine days.
During this time, Schubert worked in parallel on other works such as the vocal quartet " Hymn to the Infinite " (D 232) and the songs " The Night" (D 221), " Spirit of Love " (D 233) and " table song" (D 234 ).
The symphony was written for a lover Orchestra under the direction of violinist Josef Prohaska; Schubert played in this orchestra, the viola. It is believed that the first performance of the symphony in private held by Prohaska's orchestra.
About the Music
Schubert's return to D major, the key of his Symphony No. 1, raised the musicologist Alfred Einstein the impression "as if he the B- major symphony had with her want to correct: it is a return to D major (sic) his first symphony, and it is in quite the same cast, not merely by far shorter, but also much more concentrated. "
Occupation
Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, string quintet
1st movement: Adagio maestoso - Allegro con brio
At the beginning of the first set, which contains some unconventional twists, hear a 18 -measure introduction. As in the Symphony No. 1, the slow introduction to the sonata form of the Allegro main part is integrated. In both symphonies, the introduction is heard each well before the recapitulation; In contrast to the Symphony No. 1, in the introduction, the recapitulation only initiates, it is in the Symphony No. 3, part of the recapitulation.
The introduction is followed by a dotted theme in the clarinets, which will not be repeated, contrary to the rule; Instead, the slow introduction is taken up again and developed thematically. The page set other hand, has used the character of a cheerful dance song and isteinerseits through this song-like character and thematically with the main clause.
From the dotted final phrase of the page set of the epilogue that leads on from exposure to conduct arises. The short implementation in turn leads terraced by the keys and goes into the recapitulation.
According to the conventional statement of the theme in the recapitulation is unexpectedly not this, but the Tutti Fort spin drying modulated.
Another surprise is found at the end of the sentence, as the side set varies the main clause, followed by thirty-second scales and the sentence final cadence.
2nd movement: Allegretto
The folk-, dance-like second movement of the symphony is the only second sentence in Schubert's symphonies no Andante, but an Allegretto. The original plan, an Adagio molto to write in 3/4-time, Schubert had discarded. The set is divided into a three-part song form: An A-section in G major and a B section in C major. The Schubert biographer Walter Vetter said, in this sentence echoes of the " Mary 's Lullaby " ( 14th century) and " ' s I do not see anything better " in the world.
3rd movement: Menuetto. Vivace - Trio
The third set consists of two motifs, in the course of which evolve independently. Walther Vetter suspected in this sentence echoes of the Scherzo of Beethoven's Symphony No. 2 and the Scherzotrios of his Symphony No. 5
4th movement: Presto vivace
The fourth movement of the symphony consists of a tarantella in 6/8-measure. The movement is in sonata form. From their tradition but deviates from Schubert, among others, by the dominant stage is reached only in the third mold part, the epilogue and the recapitulation is excreted in contrast to the convention of the dominant of the home key.
The implementation consists of only 46 bars and the constantly repeated opening motif on h and c.
In this sense, the more easily reach the reprise of the target and the home key by the side set the plant exposure to the fourth stage.
Music critic Eduard Hanslick wrote after the performance of 1860 over the bubbly, witty finale of this symphony, it was " a work of youth [ ... ] and their vergüngt noisy indeed urge that stirs and moves without still to aim and success of Great to take care of. " The character reminds the finale of Gioachino Rossini.
Effect
On 2 December 1860, arrived in Vienna ball room to a concert conducted by Johann von Herbeck concert, which consisted of the first two sentences of the Symphony No. 4, the third movement of the Symphony No. 6 and the finale of Symphony No. 3. After the presentation expressed the " German Musik-Zeitung " on December 7, 1860 request, " repeated these phrases and in connection with their original environment to hear ."
However, the first public performance took place only on 19 February 1881 in London under the direction of conductor August Manns at the initiative of the musicologist George Grove instead, all the Schubert symphonies brought at this time to the performance.
Was published the symphony in 1884 as part of the edited by Johannes Brahms complete edition of all the Old Schubert symphonies by the publisher Breitkopf & Härtel. Brahms certified youth symphonies so-called Schubert's no high artistic value and believe they " should was not released, but only saved with piety and perhaps made more accessible through copies ."
Antonín Dvořák was in his time one of the few admirers of Schubert's early symphonies, in which he - in spite of the influence of Haydn and Mozart - the " character of the melodies ", the "harmonious progression " and the " many exquisite details of orchestration ," Schubert's individuality recognized.
The English press saw in Schubert's third symphony, a further development of his own style and thus a greater detachment from the models of Wolfgang Amadeus Mozart and Joseph Haydn. Thus, for example, wrote, " The Musical Times " on March 1, 1881
" Schubert III. Symphony, [ ... ] which like the first is in D major, already shows a great advance over its predecessors. Although she was only a few months after the second, it is a mature, but beyond that original work. The first movement is consistently charming, the second full of simple grace and highly melodic, while the finale is again a masterpiece and even ( lying despite derzwischen two works span ) can withstand a comparison with the finale of the "Great " C Major Symphony. "
The Sheet music are owned by the Society of Friends of Music in Vienna.