Symphony No. 3 in D Major (D200) Movement 4 (Full Score)

Symphony No. 9 in C major ("The Great"), D. 944

---

Symphonie 9 "The Great".

Symphony in C; Stravinsky: Le Sacre du Printemps. Edition Karel Ancerl vol 1. The Complete Symphonic Works, Vol. On Tour in Stockholm. Wolfgang Amadeus Mozart, Franz Schubert. Portrait de Hermann Abendroth, Vol. Symphony in C No9, D; Haydn: Famous Symphonies Box Set. Carl Maria von Weber: The Complete Symphonies, Vol. Digital Audio Check CD.

Variations on a Theme by Haydn. The Symphonies on Original Instruments. Till Eulenspiegel; Franz Schubert: Scheherazade for orchestra Op35; Schubert: Symphony in C No9, D Abbado Edition [Box Set]. Schubert - Symphony No. Bruno Walter with the London Symphony Orchestra: The Legendary Recordings.

Navigation menu

Decca Recordings [Box Set]. Maestro Classico, Disc 2. Maestro Nobile, Disc 2. Maestro Appassionato, Disc 2. Schubert, Strauss, Schumann and others. Grande Symphonie in C major D.

Symphony C-dur "The Great". Symphony in C No9, D; Brahms: Tragic Overture in Dm Op Symphony in C No9, D; Weber: The Classic Symphony. The Classic Symphony Vol. The Royal Edition, No. Wiener Philharmoniker th Anniversary. Wiener Philharmoniker th Anniversary, Vol. Secondly, Schubert tended to transfer his thoughts from head to paper at high speed, allowing no time to check them, let alone reflect on them.

This is particularly the case in the first movement of D where, in the early stages of the Allegro moderato, one finds harmonic effects fully textured by Schubert in this instance which he would perhaps have reconsidered if he had allowed himself to go back over what he had written. The number DA given to this work in the second edition of the Deutsch catalogue is therefore misleading and was based on a surmise of its chronology which has since been superseded.

Research on paper types and the circumstantial context has led to a re-dating from spring-summer to autumn of The number DC would be nearer the mark, placing the symphony at the very end of the list of works whose date is known with reasonable accuracy.

Symphony No. 9 in C major ("The… | Details | AllMusic

There are only three movements. For his third movement Schubert set out to write a scherzo, but as work progressed the movement came to resemble more and more a finale. It is in fact a rondo in duple time, but with triplets present as reminder of the scherzo provenance. After sketching this movement he returned to make an amendment to the slow movement.

The first movement, whose structure has to be deduced by painstaking interpretation of the sketch, is evidently a sonata-form movement on a grand scale, with a lyrical second subject in the cellos which is pure Schubert. The finale is a tour de force of counterpoint, involving devices little used in the earlier symphonies such as double counterpoint, canon, augmentation and fugato, and towards the end a simultaneous combining of the two themes. These contrapuntal preoccupations, taken together with the fact that Schubert made use of paper on which he had already worked some quite separate counterpoint exercises, tend to confirm the dating of the work primarily established by the type of paper on which it was written , since it is known that the composer decided to take a course of counterpoint lessons with Simon Sechter in his last weeks, though he lived to attend only the first lesson, on 4 November.

The realization of this sketch for performance is fraught with problems—of decipherment, of orchestration since in the style of the last two movements especially so much is new and there are no helpful precedents to study , and of structure for in the outer movements Schubert did not write down the music in one sequential span, but left shorter sections whose order he sometimes indicated by special home-made continuity signs.

Symphony No. 3 (Schubert)

There can be little doubt that, if Schubert had lived to continue work on this symphony, he would have revised it as he went; we cannot visualize what its final shape might actually have been. But the last work of a great composer, especially if it contains ideas to treasure, arouses natural curiosity. And orchestras tend not to play sketches. A performing version is necessarily speculative, even if it aims to preserve the spirit of the conception as Schubert left it, spurning any temptation to revise it on his behalf.

Schubert entreprit treize symphonies et en acheva sept.

Mais ses deux mouvements ne constituent pas une symphonie. Schubert begann 13 Symphonien und vollendete sieben. In den zehn Jahren, die ihm nach der Komposition der Symphonie Nr. Davor hatte Schubert an zwei weiteren Symphonien gearbeitet, von denen jedoch keine vollendet wurde. Die Symphonie setzt mit einem Gestenspiel ein, das stark an den langsamen Einleitungsteil von Haydns letzter Symphonie Nr.

Symphony No.3, D.200 (Schubert, Franz)

Die Oboe stellt das sorglose, pastorale Thema im Allegro moderato vor. Das Horn wiederholt das Thema und Schubert vertieft sich in ergreifendes rhythmisches Spiel, bevor das zweite Thema, eindeutig dem Eingangsteil im Adagio entsprungen, einsetzt. Er stellt in der Tat ein Finale dar: Die katzenhafte Grazie des ersten Themas inspiriert zu fast ballerinenhaften Gedanken.

Ein an eine Sprungfeder erinnendes Motiv liefert die Energie zu einer schnellen, klangvollen Klimax. Die Numerierung DC scheint eher angebracht zu sein, weil sie die Symphonie ans Ende der Liste unter die Werke plaziert, deren Kompositonsdaten mit ziemlicher Sicherheit feststehen. It appeared many years later, in the first Schubert complete works edition in The length of this symphony is approximately 21—23 minutes.

It is in four movements:. The symphony opens with a broad introduction in a form which is reminiscent of the French Overture in two parts, the first slow and dramatic, the second more lyrical. This leads into the Allegro con brio , which is remarkable for its charm and the interplay of solo clarinet with syncopated strings, which developed pp from within the bounds of the style of chamber music to the larger sphere of the symphonic form.

This is an extremely dramatic movement in sonata form.

According to Blair Johnston, this Symphony also shows Haydn 's influence on the young Schubert, mainly in the introduction: A delightful Allegretto in ternary form follows, full of grace and humor. The tune that unfolds has the character of a peasant's dance and its rhythms spread to the subsidiary melody as well.

• The Little Chinese Dreammaster (The Chinese Dreamlords Book 1)
• Salesman Gone Bad
• At Her Heels
• Corporate Responses to EU Emissions Trading: Resistance, Innovation or Responsibility? (Global Environmental Governance)
• Stripping Away the Insanity of Life and Parenthood! (Volume 1)
• The Chrysalis