It has always troubled me how the last movement mismatches the symphony. The main subject is too whimsical, too modest, and too slow, so the movement never develops the needed fire to close out the dynamic fortitude the first and third movements demonstrated. This despite what sounds like a forced, desperate attempt to make a triumphant coda. Great job with the page turns, translucent pages, and that measure that didn't play.
@@Archiekunst I'm not seeing the similarity. It is the last 4th movement he will complete before his 9th symphony in C, it proved to be a trial without a successor result. The 4th movement of the 9th uses a 3-note motif rather than a melody as its main subject. The secondary theme in the 9's 4th begins with the same pattern as the main idea here, if that is what you mean, but there it is the contrasting subdued idea and here it's the main feature. All previous last movements and this one use a melodic theme as the main subject, the 9th was a clean break from that.
I think Schubert always had trouble in composing the last movement, not only symphonies but also even his last piano sonatas. Maybe it was a little shortcoming of Schubert.
You know, that's always been why I LOVE this symphony - the fact that the last movement is so odd. I also think that many people miss how funny and ironic the introduction of the 4th movement actually is! Look at it again: After these three quite "substantial" movements (at least for a symphony of this scale), this whimsical theme is a total surprise by itself. What makes it more funny, is that the phrase lengths are uneven - normal 4, then 5 (!), rounded out by another 5, but this time one where its clearly 4+1 (so one awkward bar too many)... The fact that the second phrase is basically a sequence leads us somewhere, but Schubert cleverly tricks us in another direction: the winds. Then, once we think "okay, that was cute, let's get going", he pulls the rug out from under us with a totally random Eb major modulation - weird, but even weirder after that strange 5th bar we found earlier... This is all pp by the way. Now, at last we feel we're getting somewhere - he develops, develops, builds, builds and then...? Nah, back to the first theme 😂 I think that's absolutely hilarious. And just to top this, he repeats all of these jokes, as if to irritate the listener even more... And then, just as you think you can't take any more teasing - BOOM! Fortissimo trumpets and timps: the REAL fourth movement! Don't know if I'm the only one who imagines this, but I've always loved this movement exactly for the weird way it starts! Also, a good interpretation (such as this one) should emphasise this - listen how they start rushing every time something exciting happens, only to pull back and surprise us again!
@@HeinrichLateganOh, blah, blah, blah. The whole symphony stinks. He should have burned this uninspired work. All the time I was listening , I wanted it to end.
I admit I'm not fond of this symphony, I felt like it was just a 30 minutes introduction. Plus, it may be my subjective clarinetist spirit but that clarinet is asleep or mute. I Largely prefer the "Great" over the "Little".
I take it you're not familiar with Kalkbrenner. Besides, Weber rocks. You're just not feeling him yet. I passed him off as a worthless B composer until I finally gave his piano sonatas a chance.
![12 Trio Sonatas / Sonate da camera, Op. 4 [3/3] - Corelli (Score)](http://i.ytimg.com/vi/YI0LKJur9fs/mqdefault.jpg)
![12 Trio Sonatas / Sonate da camera, Op. 4 [3/3] - Corelli (Score)](/img/tr.png)
What a beautiful and wonderful work by Schubert!
Great job, thank you for making it into a score. Thank you.
15:50
21:48
I like this symphony, although I do not think it compares to "Unfinished"
It has always troubled me how the last movement mismatches the symphony. The main subject is too whimsical, too modest, and too slow, so the movement never develops the needed fire to close out the dynamic fortitude the first and third movements demonstrated. This despite what sounds like a forced, desperate attempt to make a triumphant coda.
Great job with the page turns, translucent pages, and that measure that didn't play.
You can say that perhaps this was a trial symphony before he wrote the 9th. The coda has similar progressions.
@@Archiekunst I'm not seeing the similarity. It is the last 4th movement he will complete before his 9th symphony in C, it proved to be a trial without a successor result. The 4th movement of the 9th uses a 3-note motif rather than a melody as its main subject. The secondary theme in the 9's 4th begins with the same pattern as the main idea here, if that is what you mean, but there it is the contrasting subdued idea and here it's the main feature. All previous last movements and this one use a melodic theme as the main subject, the 9th was a clean break from that.
I think Schubert always had trouble in composing the last movement, not only symphonies but also even his last piano sonatas. Maybe it was a little shortcoming of Schubert.
You know, that's always been why I LOVE this symphony - the fact that the last movement is so odd. I also think that many people miss how funny and ironic the introduction of the 4th movement actually is! Look at it again:
After these three quite "substantial" movements (at least for a symphony of this scale), this whimsical theme is a total surprise by itself. What makes it more funny, is that the phrase lengths are uneven - normal 4, then 5 (!), rounded out by another 5, but this time one where its clearly 4+1 (so one awkward bar too many)... The fact that the second phrase is basically a sequence leads us somewhere, but Schubert cleverly tricks us in another direction: the winds.
Then, once we think "okay, that was cute, let's get going", he pulls the rug out from under us with a totally random Eb major modulation - weird, but even weirder after that strange 5th bar we found earlier...
This is all pp by the way. Now, at last we feel we're getting somewhere - he develops, develops, builds, builds and then...? Nah, back to the first theme 😂 I think that's absolutely hilarious. And just to top this, he repeats all of these jokes, as if to irritate the listener even more...
And then, just as you think you can't take any more teasing - BOOM! Fortissimo trumpets and timps: the REAL fourth movement!
Don't know if I'm the only one who imagines this, but I've always loved this movement exactly for the weird way it starts! Also, a good interpretation (such as this one) should emphasise this - listen how they start rushing every time something exciting happens, only to pull back and surprise us again!
@@HeinrichLateganOh, blah, blah, blah. The whole symphony stinks. He should have burned this uninspired work. All the time I was listening , I wanted it to end.
15:50 3rd movement
The Symphony No. 6 in C major, D 589
The first movement sounds like Carl Maria von Weber.
The ad is on final chord,pls
LMAOOO
That was a first lol
10'02"
2:18
I admit I'm not fond of this symphony, I felt like it was just a 30 minutes introduction. Plus, it may be my subjective clarinetist spirit but that clarinet is asleep or mute.
I Largely prefer the "Great" over the "Little".
I agree---of course Schubert's "Great" is better!
better than Weber lol. But then again, anything is better than Weber.
Anything? Weber is quite a good composer, especially compared to this symphony, which is not all that great.
How much Lortzing have you heard?
@@iks.7048 Not just "quite a good composer"---one of the best. (At least of the nineteenth century!)
I take it you're not familiar with Kalkbrenner. Besides, Weber rocks. You're just not feeling him yet. I passed him off as a worthless B composer until I finally gave his piano sonatas a chance.
This is probably his worst symphony. Insufferably bad. Well, even Beethoven had some stinkers.
I like 3rd and 4th movement