Symphony No. 6 (Schubert)

The Symphony No. 6 in C major, D. 589 is a symphony by Franz Schubert. To distinguish them from those at the same key " Great Symphony in C major ", the sixth is also called the "Little C Major ".

  • 4.1 documents
  • 4.2 Further Reading

Formation

The symphony was from October 1817 to February 1818, a year after the Symphony No. 5 In contrast to a preparation period of a few weeks earlier symphonies of Schubert took this for the 6th Symphony five months. Perhaps Schubert, during the actual composition work but worked through at this time, with interruptions quickly to the symphony.

After completion of the composition work titled Schubert Symphony No. 6 in respect to the occupation with clarinets, trumpets and timpani as " Grand Symphony in C". Today, the Symphony in C major, D 944 is called the " Great C Major Symphony". The Symphony No. 6 in C major, D. 589 contributes to the distinction now known as the " Little C Major Symphony ".

About the Music

Occupation

Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, string quintet

1st movement: Adagio - Allegro

Accompanied by orchestral tutti, raises the thoughtful adagio introduction of the first movement. She has, for example, in the cadential and provided with trills return from bar 8, which seems to re-open the symphony, or the unexpected, chant -like clarinet solo at bar 18 the character of a Singspiel and is indispensable as an introduction to the Allegro theme. The Allegro theme itself reminded again of Joseph Haydn's Symphony No. 100 (the " Military Symphony" ).

The use of the theme from bar 187 at first seems to be the entrance of the recapitulation; but instead follows another development section in E flat major, before suddenly the recapitulation actually uses in a " coloristic surprise effect ". Has a similar effect in the coda fortissimo onset Stretta, which turns into high speed in a large-scale cadence.

2nd movement: Andante

The Andante of the second set contains a lyrical folk- like theme, combined with Schubert's individual musical language. The set is characterized by contrasts between thoughtful and introverted sections on the one hand and march-like sections and Italian opera music on the other. According to musicologist Wolfgang Schubert Stähr did this, however, to such an extent that this "the border of the triviality, to a music second hand [ ... ] touched more than once " is.

The second section of the middle part from bar 49 comes from without melodic formation and developed with the ever- repeated triplet motif a surface effect. This section is reminiscent of Schubert's symphonic late style.

3rd movement: Scherzo. Presto - Trio. Più lento

The Presto of the third sentence refers to Schubert - the example of Ludwig van Beethoven's Symphony No. 1, following the first time in one of his symphonies - Scherzo. Another feature of Beethoven as a model is designed by the Schubert main part of the 8 -measure main section in the third movement of Beethoven's Symphony No. 1 Although exceeds 48 bars in length, but is shaped in the form and structure of the eight-bar.

The energy of the music cuts across all voices in all directions. In contrast to this is found in the folk sound marked by the trio set a uniform development.

4th movement: Allegro moderato

The fourth movement of the symphony is based in his sonata without implementation, an above-average long coda and one another in ranks rather than dynamic style on the example of the Italian Overture Schubert here follows the style of the Italian opera composer Gioachino Rossini, he had an " extraordinary genius," attests. Rossini's music at the time was extremely popular and inspired the finale of Symphony No. 6 as well as the composition of the simultaneously formed Overtures (D 590 and D 591 ).

Effect

The symphony was, according to the report of the lawyer Leopold of Sonnleithner premiered shortly after its completion in either a private concert of the " Hatwig'schen orchestra " in " Gundelhof " or after Hatwig was ill at the farmer's market with Anton Pettenkofer under Josef Otter.

The first public performance took place on 14 December 1828 - a few weeks after Schubert's death - a large ball room of the Hofburg in Vienna as part of a subscription concert of the " Society of Friends of Music in Vienna " by Johann Baptist Schmiedel as a conductor instead. Another performance of this symphony there were all apparently already on March 12, 1829 as part of a Concert spiritual in Landständischen hall in Vienna.

As part of this concert wrote the " General musical newspaper " on February 4, 1829

" On the 14th [ December 1828 ], in large redoubts kk -Saale: Zweytes Society Concert [ ... ]: New Symphony in C Major by Franz Schubert ( from whose Discounts Conditions ): a nice, hard-working -crafted work whose exquisitely appealing sets are the Scherzo and Finale. What one might blame the fact would be that the blowing orchestra is considered too abundant, whereas the strings appear only subordinate to almost average. "

On January 19, 1861 threw the Viennese " German Musik-Zeitung " on the question of whether it is the " Sixth " acted in announced in the program of 1828 "Symphony in C" or the "Great Symphony in C Major " ( which was then counted as " Seventh "). This uncertainty has been clearly answered by Leopold von Sonnleithner, who attended the performances in December and March.

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. So he made during his teaching career in New York his students familiar with Schubert's Symphony No. 6.

Musicologist Alfred Einstein described the symphony as " strange unpopular with the conductors who like to condescend to > Tragic " and the intimate B- major Symphony. No wonder they they think it strange. It fits into any pattern. "

Today, from 82 zwölfzeiligen Notneblättern is kept in the horizontal format existing Autograph of the Society of Friends of Music in Vienna.

15188
de