Symphony No. 8 (Schubert) - Knowledge (XXG)

689: 856: 834: 1063: 788: 536: 989: 1022:

classical tradition was unlikely to accept that a symphony could end in a different key from the one it began in (with the B minor first movement and the E major finale by default incomplete), and the even more undeniable fact that Schubert had begun a third movement in B minor (leaving precisely 30 bars of fully orchestrated scherzo and 112 succeeding bars in short score), stands against the view that the two completed movements can legitimately stand alone.

667: 51: 645: 1356:, the Springfield Elementary School Orchestra begins a series of Saturday Evening Concerts with the symphony, albeit with an interesting orchestration, i.e. with Lisa playing the second theme on alto sax. Homer is initially excited to hear that the work is unfinished so he can get to the monster truck rally that night, but later bemoans "how much longer was Sherbert planning on making this piece of junk?" 303: 429:), along with a complete short score of the second movement and the end of the first movement, but nothing of any fourth movement. A fourth movement finale in the home key (B minor) would have been the norm for any symphony written at that time, but there is no direct evidence that Schubert ever started work on it. It has, however, been surmised that the most extended 2171: 1384: 1047:-like intimacy, every heart rejoiced, as if, after a long separation, the composer himself were among us in person. The whole movement is a melodic stream so crystal clear, despite its force and genius, that one can see every pebble on the bottom. And everywhere the same warmth, the same bright, life-giving sunshine! 1021:

to Herbeck, some music historians and scholars took much trouble to "prove" the composition complete even in the truncated two-movement form, and indeed that abbreviated structure alone has captivated the listening public to consider it as one of Schubert's most cherished compositions. The fact that

1038:

When ... clarinet and oboe in unison began their gentle cantilena above the calm murmur of the violins ... 'Schubert' was whispered in the audience. ... And when, after this nostalgic cantilena in the minor, there followed the contrasting G major theme of the violoncellos, a charming song of almost

448:

The Schubert scholar Brian Newbould, who harmonized, orchestrated and conjecturally completed the piano sketch of the scherzo, believed this to be true; but not all scholars agree. Pages appear to have been torn out after the beginning of the scherzo in the full score sent to Hüttenbrenner, in any

1311:

Casper discovers the ghost of Franz Schubert struggling to "finish" the symphony at his original piano in a Museum of Music. Schubert's ghost keeps playing the second/celli theme of the first movement on the piano, but is repeatedly distracted, first by Casper and then by outside noises such as a

1192:

in a transcription by Friedrich Hermann, edited by Goldstone. The work in this completed version was given its first recording in 2015 by Goldstone and his wife/duet partner Caroline Clemmow as part of their 'Schubert: Unauthorised Piano Duos' series for Divine Art Records.

1218:

completed the scherzo sketch and created a new finale for the symphony (some themes of the latter based on themes from several Schubert piano works), which he described as "an attempt to move into the mind of the composer". His completion was performed at the

554: 1492: 1179:

indeed started life as the finale of this symphony, then Schubert evidently recycled it (probably at that stage unorchestrated) from the symphony to the incidental music, presumably orchestrating it for the play and perhaps making compositional changes.

806: 545: 881:(sonata form without development), with a quietly dramatic, elegiac, extended coda that could be characterized as a concluding development section. The lyrical first theme is introduced by the horns, low strings, brass, and high strings playing in 1050:

The Andante develops more broadly. A few odd hints here and there of complaint or irritation are interwoven ... their effect is that of musical thunder clouds .... As if loath to leave his own gentle song, the composer puts off too long the end

1094:(in memory of 19 November 1828, the day Schubert died), as a tribute to Schubert on the centenary of his death. The second movement of Weingartner's symphony is a realization of Schubert's incomplete sketch of the scherzo (seventy years before 278:

To this day, musicologists still disagree as to why Schubert failed to complete the symphony. Some have speculated that he stopped work in the middle of the scherzo in the fall of 1822 because he associated it with his initial outbreak of

776:, and modulates back to the parallel mode of B major to close the recapitulation. The coda in the tonic B minor recalls the opening theme for still another, final, dramatic reworking to pave the way for the emphatic concluding chords. 797: 452:

Old age and approaching death seem to have influenced Hüttenbrenner to reveal the work to an important and gracious visitor at long last (in 1865, when he was 71 and had only three more years to live). This was the conductor

1213: 1245:

professor of composition, has realized the Scherzo based on, but not bound to, the sketches; e.g., with two trios, the first from Schubert's sketch and the second entirely his own composition. It was premiered by the

1713:"Stephen Hough; Orchestra of the Age of Enlightenment / Vladimir Jurowski, Weber: Freischütz Overture; Schubert: Symphony No.8 (compl. Safronov); Brahms: Piano Concerto No. 1, Royal Festival Hall, 6 November 2007" 1500: 763:)—instead of much earlier, in the second subject of the exposition, as customary. The flutes and oboes then resume their melodic role at the end of that dramatic outburst, transitioning to the recapitulation. 1187:

prepared a new 4-movement performing edition of the Symphony for piano duet, using the transcription of the first two movements prepared by Hüttenbrenner, his own completion of Schubert's Scherzo, and the

2211: 1128:

of which, entirely missing from the sketch, had to be conjecturally completed), and a theme from the scherzo appears in his finale. Independent completions of the scherzo movement also were made by

1010:

intended as the third movement returns to the tonic B minor, with a G major trio. The first 30 measures are preserved in full score, but the entire rest of the scherzo proper (both strains) only in

1312:

clopping horse, a shooting gallery, construction, and traffic. Casper silences the offending noises through various means, then helps inspire Schubert's ghost to compose past the end of that theme.

1321:, the character Chance wakes as a television remotely snaps on, showing an orchestra performing the symphony. The implied connection may be to the character's abnormally "unfinished" personality. 1235:. Due to his unusual use of material from Schubert keyboard works in the finale, Safronov's completion has been subject to criticism varying from definitely positive to ambivalent and negative. 553: 1200:

produced his own completion of the scherzo and finale also using Schubert's sketch of the scherzo and augmenting the 'Rosamunde" B minor Entr'acte. This version was performed and recorded by

437:(also in B minor, in the same style of the first movement and with the same instrumentation as the symphony) was indeed that fourth movement, which Schubert recycled by inserting it into his 805: 465:, and not even in the correct key. The performance was nevertheless received with great enthusiasm by the audience. The score of those two movements was not published before 1867. 1755: 972:

followed by the motto again leading back to the tonic E major for a final extended transformation of the first theme, leading in turn to a final extended version of the opening

1691:"Concert Review – Weber, Schubert and Brahms: Stephen Hough (piano) Orchestra of the Age of Enlightenment: Vladimir Jurowski (conductor) Royal Festival Hall, 6.11. 2007 (GD)" 1106: 457:, who premiered the extant two movements on 17 December 1865 in Vienna, adding the brilliantly busy but expressively lightweight perpetual-motion last movement of Schubert's 766:

The recapitulation consists mostly of orthodox sonata-form restatement of the themes, except that Schubert modulates early in the recapitulation first to E minor then to F

1163:

s finale. (In fact, it was even played as the finale as long ago as the British premiere of the symphony on 6 April 1867.) Its first movement, the scherzo sketch and the

1958: 1261:

to create hypothetical melodies for the third and fourth movements, based on which Lucas Cantor then arranged an orchestral score. The composition was performed live at

1642:"Concert Review – Schubert, Brahms: Stephen Hough, piano; Russian National Orchestra, Vladimir Jurowski, conductor. Davies Symphony Hall, San Francisco, 14.2.2008 (HS)" 1663: 755:, and rises to a prolonged climax in the same key, starting with a dramatic variant of the opening melody in prominent trombones over a full orchestra. The expected 472:

Symphony has been called No. 7 (recently, for example, in the New Schubert Edition) instead of No. 8 as it usually is, since the other work sometimes referred to as

2145: 1992: 410:

What may never be known is how much of the symphony Schubert actually wrote, and how much of what he did write he gave to Hüttenbrenner. The following exists:

1783: 449:

event. That Hüttenbrenner neither had the work performed, nor even let the society know he had the manuscript, is curious and has spawned various theories.

320: 759:(D) of the tonic minor first appears only at the end of that climax, and then again for the second subject of the recap (in place of the expected tonic 425:(not sent to Hüttenbrenner, but found among Schubert's copious manuscripts after his death and carefully preserved by his devoted schoolteacher brother 1054:

The tonal beauty ... is fascinating. With a few horn figurations and ... a clarinet or oboe solo, Schubert achieves ... effects which no refinement of

1943: 612:

The second subject begins with a celebrated lyrical melody in that key, stated first by the cellos and then by the violins (sometimes drolly sung to

2201: 1014:. Only the first strain of the trio exists, and that as a mere unadorned, unharmonized single melodic line. The second strain is entirely absent. 940:

major). A short transition back to the tonic E major ushers in the recapitulation—notable for how it restates the second theme in the subdominant

195:, but all evidence for this is circumstantial. One possible reason for Schubert's leaving the symphony incomplete is the predominance of the same 399:

In 1823, the Graz Music Society gave Schubert an honorary diploma. He felt obliged to dedicate a symphony to them in return, and sent his friend

2140: 1146:

and Brian Newbould have also offered completions of the symphony (scherzo and finale) using Schubert's scherzo sketch and the extended B minor

1117:

won the "English Zone" of the competition; his scherzo and finale were later performed and recorded (on Columbia), but are long out of print.

2191: 1904: 1224: 1273:

writes, for instance: "The completed movements are trivial and achieve ultimately a loose and inauthentic family resemblance to Schubert".

1247: 27: 885:. The plaintive second theme, in minor, after four simple unharmonized notes in transition spelling out the tonic chord of the relative 1921: 367: 1985: 386: 339: 161:), is a musical composition that Schubert started in 1822 but left with only two movements—though he lived for another six years. A 1175:(like the first movement) is in sonata form (as are all Schubert's symphonic finales) and in a very similar style and mood. If the 1939: 2216: 1964: 403:, a leading member of the Society, an orchestral score he had written in 1822 consisting of the two completed movements of the 346: 1120:

Only some of the completions—Merrick's is not one of them—used material from Schubert's scherzo sketch. The first movement of

2196: 1896: 324: 480:) was also left incomplete but in a different way, with at least fragments of all four of its movements in Schubert's hand. 289:

for solo piano, which occupied his time and energy immediately afterward. It could have been a combination of both factors.

271:

that are prophetic of the later Romantic movement, with wide vertical spacing occurring for example at the beginning of the

625: 2161: 992: 859: 837: 692: 670: 648: 353: 1978: 1124:'s Fourth Symphony, one of the British entries, is mostly a performing version of the sketch (the second strain of the 2106: 1325: 140: 83: 267:. Furthermore, its orchestration is not solely tailored for functionality, but specific combinations of instrumental 461:

in D major, as an inadequate finale, expressively quite incompatible with the monumental first two movements of the

335: 2206: 2126: 2101: 1364: 1228: 729: 313: 2111: 2096: 2075: 2065: 2054: 2044: 2039: 2028: 2023: 1438: 1300: 473: 458: 20: 739:

Unusually for sonata form, the development section begins with a quiet restatement of the opening melody in the

1434: 2001: 1641: 421:

The rest of the scherzo (except for the missing second strain of the trio) exists in a separate manuscript in

1292:

when Walter Neff takes Lola Dietrichson to the surrounding hill to distract her following her father's death.

1258: 1242: 1168: 400: 1269:

on 4 February 2019. However, many consider that the result is disappointing and far from Schubert's style.

2175: 1848: 1403: 1389: 1341: 748: 707: 1690: 1582: 1566: 1496: 1349: 931: 489: 148: 1156:

Schubert wrote a few months later, long suspected by some musicologists as originally intended as the

1062: 1113:. About 100 completions were submitted, but also a much larger number of original works. The pianist 911:

in an example of the major–minor juxtapositions that are a hallmark of Schubert's harmonic language.

602: 360: 1208: 1668: 1220: 616:'s words as "This is ... the sym-phoneee ... that Schubert wrote but never fin-ished") to a gentle 272: 1955:

the PDF shows C-naturals in measures 198 and 200 of the first movement; these should be C-sharps.)

1371:) supposedly completes the symphony after familiarising himself with Schubert's "600 other works". 1360: 1317: 995: 948:) begun by the oboe and continued by the clarinet (vice versa to their roles in the exposition). 862: 840: 695: 673: 651: 634: 598: 590: 454: 426: 144: 1712: 1601: 248:. Three consecutive movements in basically the same meter rarely occur in classical symphonies, 263:

symphony due to its emphasis on the lyrical impulse within the dramatic structure of Classical

1900: 1733: 1464: 1232: 1184: 1087: 1071: 477: 1948: 1468: 1406:

with 44 Variations, cadenza and fugue on the opening theme of Schubert's Unfinished Symphony

1398: 1284: 1197: 1121: 1102: 285: 1617: 747:), a tonality usually reserved for near the end of a sonata form movement somewhere in the 50: 1886: 1784:"Composers are under no threat from AI, if Huawei's finished Schubert symphony is a guide" 1586: 1368: 1031: 973: 952: 586: 1891: 2007: 1874: 1289: 1238: 1143: 1095: 1055: 958:

that opens the movement. This gives way to the laconic triadic first-violin transition

955: 719: 613: 521: 260: 177: 128: 42: 2185: 1613: 1472: 1426: 1270: 1201: 1133: 1129: 1114: 959: 902: 886: 878: 711: 253: 196: 170: 1441:

in form of Prelude and Allegro, using different quotations and stylistic influences.

951:

The coda starts with a new theme that is simply an extension of the two-bar E major

706:

An important moment in the first movement occurs in measure 109 (and repeats in the

524:), which are all of the symphony as it is performed in the concert repertoire, are: 1927: 1622: 1409: 1353: 1296: 1262: 1140: 1125: 963: 921: 882: 756: 752: 200: 1328:, the first theme of the first movement is often used either as the theme song of 1231:(followed by the American tour in the early 2008,) both performances conducted by 185: 804: 620:

accompaniment. This is interrupted by a dramatic closing group alternating heavy

552: 407:

plus at least the first two pages of the start of a scherzo. This much is known.

1011: 740: 617: 594: 582: 505: 422: 302: 264: 166: 1970: 1379: 1042: 962:, which leads to a restatement of the first theme by the woodwinds in distant 821: 715: 569: 55:

Third movement, first page, facsimile, 1885, in J. R. von Herbeck's biography

1760: 1419: 1336: 1152: 191: 143:

759 (sometimes renumbered as Symphony No. 7, in accordance with the revised

120: 1756:"La Symphonie n°8 de Schubert achevée à coups d'intelligence artificielle" 1329: 513: 497: 280: 94: 1827: 1807: 1306: 1959:

About the Composition: Symphony No. 8 in B minor, D. 759 ("Unfinished")

1602:

William Carragan - Symphony no. 8 in B minor, D. 759, in four movements

1007: 945: 941: 874: 773: 760: 744: 630: 606: 578: 517: 509: 501: 327: in this section. Unsourced material may be challenged and removed. 181: 180:, that Schubert may have sketched a finale that instead became the big 162: 136: 72: 589:

shared by the solo oboe and clarinet. A typically laconic Schubertian

1266: 1254: 1067: 268: 249: 1017:

After Hüttenbrenner's release of the two completed movements of the

1664:"Schubert's 'Unfinished' Symphony is brought to a satisfying close" 1061: 621: 1030:

Reviewing the premiere of the symphony in 1865, the music critic

1832: 1812: 493: 1974: 19:

For the Great C major Symphony, sometimes listed as No. 8, see

1034:

stressed that the music is among Schubert's "most beautiful":

895:

quietly by the first violins, begins in the solo clarinet in C

296: 1635: 1633: 1546: 1544: 1429:

composed a contemporary homage to Schubert's Symphony titled

786: 534: 914:

A dramatic closing theme in the full orchestra returns to C

629:

interspersed with pauses and developmental variants of the

26:"Unfinished Symphony" redirects here. For other uses, see 1965:

1937 – Sir Thomas Beecham – London Philharmonic Orchestra

1920:

The Musician's Guide to Symphonic Music: Essays from the

994: