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Article

 

"Polarity in Schubert's Unfinished  Symphony" David P. Schroeder Canadian University Music Review / Revue de musique des universités canadiennes , n° 1, 1980, p. 22-34.

 

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POLARITY IN SCHUBERT S

  UNFINISHED

SYMPHONY

David P. Schroeder

I t is a w ell -k no w n fact tha t the ye ars 1818 to 1822 wer e

diff icult ones for Schu ber t as a com poser of in s t ru m en ta l m usic .

At no t ime in his career did he have as much trouble gett ing

ins t rumenta l compos i t ions beyond the ske tch s tage and th i s i s

pa r t i cu la r ly t rue o f the symphony . The sugges t ion has been pu t

forward tha t h i s indec is iveness conce rn ing ins t rumenta l and

espec ia l ly symphonic wri t ing a t th is t ime was the resul t of h is

having to cope with the long shadow cas t by Bee thoven (Chusid

1968:9-10) . W hile th is un do ub ted ly w as a fac tor , ano ther

impor tant s ide to the problem has been la rge ly ignored, and th is

concerns the much more in t imate issue of what the composer

hopes to accompl i sh wi th a symphony . Wi th the Unf in i shed

Symphony, i t had been about four and a ha lf years s ince

Schube r t had comple ted a symphonic movement , and those

years saw not only the des i re on his par t to c rea te a grand

symphony bu t a l so a sp i r i tua l change which was to shape the

na ture of the symphonic content . This work marks a s ignif icant

change in Schub e r t s ap proac h to the sym ph ony , a s the ske tch

symphonies of the years preceding i t appear to be unsuccessful

e f for ts in rea l iz ing the concep t ion w hich he w as grad ua l l y

envisaging. While he fa i led to achieve i t in ins t rumenta l works

before 1822, h is new approach can be observed taking shape in

other c rea t ive ac t iv i t ies before tha t da te , and the para l le l

be tween the achievement of the Unf inished and the genes is of

the idea in these ac t iv i t ies is remarkably c lose . The impor tance

of the Lied to Schuber t cannot be doubted, and the cons is tency

wi th which he wro te songs th roughout h i s ca ree r a l lows them

to be taken as a type of sounding board of h is musica l and

spir i tual ideas a t any given t ime. I t is , in fact , in the activity of

Canad ian University Mu sic Review No. 1, 1980

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  3

wri t ing songs tha t one can see the discovery of the spir i tua l ,

musica l , and dramat ic pr inc iples which gave r ise to the

Unfinished.

In the two years immedia te ly preceding the Unf inished,

one f inds a notable inc l ina t ion in Schuber t ' s songs . No s ingle

poe t he ld a p lace comparable to Goethe in the composer ' s

es t imat ion, and the par t icula r Goethe texts which he se lec ted in

the f irs t half of 1821 m ay give som e indic atio n of the d irectio n

in which he was moving . The no tewor thy tex t s f rom th i s t ime

are taken f rom Goethe 's Der West-ôs t l iche Divan ( Versunken,

Su leika I , Su leika II and G eheim es ) , WiJheJm M eiste r

( Mignon I and M ignon II ) and a se pa ra t e poem , Gren zen

der M enschheit . Throu gh his career , Goethe grad ually developed

a notio n of po lari ty , the belief th at the na tu re of M an and of

the universe (of which man was, for him, a microcosmic image)

is formed of two 'pola r ' oppos i tes , and tha t the task of wisdom

is to br ing these op pos i tes in to un i ty and ha rm on y (Gray

1967:40). In

  er

  West-ôs tJ iche Divan (1819) , a mature work

w hich ha s be la tedly been recognized as one of Go ethe 's g rea te s t ,

the theme of polari ty comes to i ts full realization. This is f irs t

of a l l apparent in the a t tempt to combine Eas t and West whi le

a l lowing each to preserve i ts essence , providing a uni ty in

duali ty. The work consis ts of lyrics organized into a cycle of

tw elve books , an d the var iou s poem s are both se r iou s and

ironic ; both in te l lec tua l and emotiona l ; the speaker is both

Hatem and the ' rea l ' Goethe ; the love ce lebra ted here conta ins

ha pp ine ss and res ig na t ion (Hatf ie ld 1963:115). A no the r s igni

f icant part of the duali ty of

  er

  West-ôstl iche Divan is i ts dual

authorship; some of the lyr ics , such as those spoken by Sule ika ,

were wri t ten by Marianne von Wil lemer . Goethe , near ing the

age of seventy a t th is t ime , deve loped a re la t ionship wi th her

which s ta r ted as something playful but became very se r ious . In

spi te of the i r s t rong love , the re la t ionship remained Pla tonic ,

and som e of the du ali ty in th is w or k could s tem from the

pa ra do x of a love w hi ch is req uit ed bu t not fulf i l lable (Hatf ie ld

1963:115) . Within the work, Sule ika s tands as a representa t ion

of perfect beauty, and in the poet 's love for her , no dis t inction is

made be tween the rea l woman or an i l lusory image of her . But

po la r i ty is not s im ply a l i te r a ry d evice . I ts em bod im ent in

l i t e ra tu re po in t s to fundamenta l ma t te r s o f ex i s tence . Taken to

i ts u l t im ate end , as seems to be the case here and in othe r w or ks

such as Faus t , Goethe appears to be put t ing forward the not ion

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  4

that one must accept both good and evil as equal forces, mean

ing that evil must be reconciled as belonging to the general

order of things (Gray 1967:234-35).

In Wilhelm Meister , the idea of polari ty is a lso present as

the main charac te r a t tempts to reconc i le h is two conf l ic t ing

sides. In part , the possibil i ty of a fusion of opposites is realized

in the charac te r Mignon who is a lways myste r ious and is a lso

herm aph rodi t ic , re fe rred to by Goethe as both he and she .

Her myste r iousness prevents the discovery of her fu l l s igni

f icance but i t is probable that Goethe envisaged her as a symbol

of the unification of the opposite sides of the

  self,

  some th ing

which remained one of the poe t ' s persona l a ims throughout h is

l ife (Gray 1967:187-89). Mignon, i t is eventually discovered, is

the child of the Harper (whose three songs Schubert had set in

1816—D.478-80). In contrast to Mignon, the Harper has suffered

as a result of opposites and has found no underlying unity: in

his own w or ds , I am enti t led to speak , for I hav e suffered as

few men have, from the supreme, sweetest exalta t ion to the

most te r r ib le deser ts of he lplessness , vacui ty , annihi la t ion and

despair , f rom the loft iest int imations of superterrestr ia l beings

down to the most radica l

  disbelief,

  to disbelief in

  myself

(Quoted in Gray 1967:187-88). The a t tempt to bring opposites

into a coexistence pervades the work a t a l l levels and i t is a lso

apparent that Goethe sees this as a means for the betterment of

mankind. Wilhe lm is occas iona l ly confronted by myste r ious

strangers who offer advice and guide the course of his l i fe . They

prove to be members of a type of Masonic society known as the

Company of the Tower and i t i s noteworthy tha t Goethe was

a Freemason most of his life. The notion of finding a higher

uni ty which a l lowed the coexis tence of opposi tes was funda

menta l to Freemasonry and can be seen in such prac t ica l

mat te rs as the fac t tha t Freemasons not only admit ted members

of d i f fe rent re l ig ious denomina t ions but encouraged members

to practice the re l igion of their choice . Human conflic ts were

recognized as inev itab il i t ies , an d a gen uine sens e of un ity w as

seen as being able to transcend these .

1

  Freemasons believed i t

was their responsibil i ty to spread this idea and the fact that so

many wri te rs and music ians of the la te e ighteenth and ear ly

nine teenth centur ies were Freemasons a t tes ts to the compat i

bi l i ty tha t a r t is ts saw be tween the ir a r t is t ic and dramat ic a ims

and Masonic ideology.

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  5

The song Grenzen der M enschhe i t , com posed by Schu bert

im m ediate ly prior to Suleika II, is the set t in g of a mu ch earl ier

poem by Go ethe (1779), but , a long w ith G esan g der Geister

2

and Mahomets -Gesang ,

3

  is representa t ive of Goethe ' s ear ly

explorat ion of the theme of polari ty . The polari ty is not neces

sari ly contained within a single poem but can exist in a com

parison of different poems. The portrayal of the Supreme Being,

for exam ple, can be con trad icto ry in different poem s. In Ge sang

der Geis ter N atur e p lay s a benef icent ro le w he rea s in Grenzen

der M ens chh ei t the gods are mere obse rv ers of the dr am a of

men rising briefly and then sinking eternal ly. And within the

poem Gren zen der M ens chh ei t , logical sequ ence is ver y often

lacking. Goethe begins by describing poets ' devot ion to the

Heavenly Father and s ta tes tha t men should not a t tempt to

compare themselves wi th the gods , but concludes by making

the comparison , asking in what ways the gods can be d is t in

guished from mortals . The fact that the gods merely watch as

men rise and sink in an endless chain is hardly cause for the

fil ia l sh ud de rs t rue in my br ea st (Zeydel 1955:65) ex pre sse d

in the fi rst verse. I t is possible that Goethe was becoming so

consumed by the idea of polari ty that his expectat ion of opposi

t ion and contradict ion as an essent ial part of l i fe was encroach

ing on his own sense of logic (Gray 1967:42-43).

A ny attem pt to find biograp hical verification for S ch ub ert 's

interest at this t ime in Goethe 's theme of polari ty would be

highly specula t ive , a l though in consider ing the var ious face ts

of Schubert 's l ife, i t is not difficult to see possibil i t ies. His

Alleg orical T ale of 1822 and en trie s in his dia rie s in 1816 an d

1824 show that paradox was by no means a foreign idea (Deutsch

1946:226-28,

  70 -71 ,

  336-37) . This concerns la rger archetypal

m at ter s such as a par ad ox ica l re la t io nsh ip betw een life and

death, and also the impossibi l i ty of people reaching each other

in human re la t ionships or the connect ion between ar t and

suffering. I t could, of course, be argued that his darker com

ments of 1824 were the resul t of his i l lness which fol lowed the

Unfinished but these remarks seem to be more the resul t of

cont inuous exper ience than a s ingle event . Whatever the

paral lels with his l i fe may have been, he did concentrate his

efforts early in 1821 on po etr y in w hic h pol ar i ty w a s the over

riding theme, and his new approach in the f i rst movement of

the U nfinished Sy m ph on y is one in w hic h opp osin g forces are

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  6

engaged in complex re la t ionships . The connect ion between the

Goethe songs and the Symphony i s made s t ronger by the fac t

tha t ce r ta in mu sica l s im i lar i t ies can be observ ed.

4

  Of the songs

ci ted, the key of B m inor oc curs w ith some cons isten cy , being

the key of M ignon I, M ignon II, an d Su leik a I. One w ri te r

who draws a para l le l i s Alfred Einste in , poin t ing out tha t

Suleik a I is not only in B min or, bu t also an t ici pa tes the

rhythm and figurat ion of the beginning of the 'Unfinished '—so

l i te ra l ly tha t the under ly ing connect ion can hardly be denied

(Einstein 1951:219-20). Other paral lels can be found and tonal

re la t ionships can be important here . As Tovey poin ts out ,

Schubert ' s use of the submediant key ra ther than the re la t ive

major for the second group of the first movement of the

nfinishe

i s unique in h is sonata form movements (Tovey

1949:150). The only m od ulat io n aw ay from B m inor in M ignon

I is also to the su bm ed ian t , and it seem s not wi tho ut

significance that this occurs at the point of exchange between

darkness and l ight , emphasiz ing the re la t ionship of these

a rche typa l oppos i t e s .

A s imi lar tona l re la t ions hip exis t s in Grenzen der

M ensch hei t , in th is case es ta bl i sh ing a pow erfu l dua l i ty w hich

crea tes a musica l polar i ty and ant ic ipa tes the Unfin ished. The

introduct ion to this song is symphonic in scope, ful l of

ambigui ty as i t nei ther begins nor quickly set t les in the home

key of E major. T he tonal a rea s E and C dev elop a relat io ns hip

in this song , and these a re l inked by B w hic h is the do m inan t of

one and leading tone of the other (F sharp will be seen to have a

sim ilar funct ion in the U nfinished ). Th at the brid ge note B

is of the greatest importance can be seen in the fact that i t is the

fi rst note of the song, where i t unexpectedly funct ions as a

leading tone . The cadent ia l pa t tern of measures 5-6 suggests

tha t the B of m ea su re 6 sho uld be a do m ina nt , bu t now i t

becomes an even more emphat ic leading tone .

Exam ple 1. Sch ub ert : Gren zen der M ensc hh eit (1821),

mm. 1-7

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  7

The l i s tener m ust w ai t u nt i l me asu re 19 to hea r B funct ioning

as a t rue dominant . The E-C re la t ionship cont inues to be a

fac tor as the ins t ru m en ta l p ass age (mm. 49-52) linking the

first tw o vers es lea ds from E to C. Th ro ug ho ut the song, B

continues to be a type of pivotal note, having the abi l i ty to lead

in different direct ions. But curiously, the f inal four measures of

the song, w hich are ins t ru m en ta l , conta in a p lagal ra th er tha n

perfect caden ce, an d B is therefo re ab sen t excep t as a pa rt of the

final E major chord . In the pen ul t im ate chord , a f i rst in ver sion

of the subdominant , the th i rd degree i s lowered to C natura l ,

and, therefore, the f inal two chords again offer a st rong C-E

relat ionship. In this song, then, Schubert bui lds a sense of

du al i ty through an am big ui ty -s ta bi l i ty re la t ion ship , the key of

E provid ing the s tabi l i ty and the tonal ambigui ty be ing gener

ated by C. B fun ction s as a typ e of unif ying ag en t, bu t at the

sam e t ime, i t s in terva l l ic connect ion w i th E and C sup po rts

the sense of duality as the perfect fifth offers stabil i ty while

the semi tone genera tes ambigui ty . The uni ty i s one in which

opposi tes are able to coexist .

The

  Unfinished

as different as i ts conception is from

earl ier sym pho nies , d id not or ig inate in a vac uum . In Grenzen

der M ensc hhei t Sch ube rt pre sen ted the kerne l of the m usica l

and dramatic problem in the introduct ion, and in the

  Unfinished

one cannot doubt that the f i rst e ight measures are of the great

es t poss ib le importance .

5

  The dynamic mark ings and ins t ru

menta t ion here seem designed to sharpen the l i s tener ' s aware

ness of this passage (and they must also at test to Schubert ' s

bel ief in the goodwil l of his potent ial audience). In this passage,

one finds a type of musical epigram which contains the polarit ies

that wil l give rise to the intense drama of this movement ,

al though the actual nature of the polari t ies is not readi ly

apparent but only gradual ly becomes evident throughout the

movement .

6

  The fact that these eight measures are often

improper ly phrased in performance has drawn not ice more

than once . Schubert ' s phras ing i s essent ia l to h is purpose . The

outer notes of each uni t are very important and the correct

phrasing is necessary for the point to be made. The interval l ic

movement is always that of a third: B-D, B-G, and D-F sharp (Ex.

2).

  Within this, other relationships can be observed, although their

significance wil l not become apparent unt i l la ter . In the f i rst

two phrase uni ts , B-D and B-G form the out l ine of a G major

triad, and both the note G and the key of G will prove to be of

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  8

Vet. Oa.

^tUV  ç N U L U 'j j U J j - J J

Example 2. Schu bert: Sym phony in B Minor ( Unfinished)

(1822).

  I: Allegro moderato, mm. 1-8.

pr im ary im por ta nce to the expos i t ion . A gain s t th is , F sha rp is

sus ta ined for three b ars , and F sh arp , the dom inan t , is a lso

the leading tone of G. Beside the ser ies of thirds , then, a semi

tone emerges , w hich m ay be no more tha n subl im inal here but

ul t imately proves to be a major force.

As the movem ent p rogre s ses , these r e la t ionsh ip s g radu a l ly

begin to make themselves fel t and the f i rs t ins tance of this

occ urs as ea rly as m ea sur e 10. In the final half beat of th at ba r,

the C sha rp and E in the upper s t r i ng s sugges t a d om inant

sev en th, but ins tea d of an F sha rp in the* low er s tr in gs , there

is a G, which i s in a semitone re la t ionship wi th the expected

note and a th i rd re la t ionship wi th the os t ina to B.

Example 3. Symphony in B Minor, I, mm.

  10-11.

The une xpe cted ap pe ara nc e of G at this point is the f i rst mild

sugges t ion of i t s impor tance . When a s t rong dominant occurs ,

f i rs t a t me asu re 20 and late r at m ea sur e 29, G is pre sen t as

the top note of the chord in each case. The dominant ninth can

simply be taken for the color i t provides , but with these

chords , emphas ized by   forzato  m ark ing s , there i s a lso the

poss ib i l i ty of hear ing the re la t ionship of the top and bot tom

notes (G and F sharp) .

The appearance of the key of G at the beginning of the

second g rou p (m. 42) com es as a su rp r is e but som e clar if icat ion

is now shed on the f i rs t four measures of the work. The previous

sect ion ends in B m inor and the t rans i t io n to G is broug ht abou t

by way of D (mm. 38-41) . At the end of the exposi t ion, a fair ly

direct reference is made to the opening eight measures of the

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  9

w ork. The mot ion s tops a t m eas ure 104, and as un exp ected ly

as G had en tere d at m eas ure 42,  re turns a t th i s poin t , accented

and for t i ss imo . A s the B und ergoe s a decre scen do in the w ind s ,

the p izz ica to s t r ing s a ns w er a t a p ian iss im o level w i th G, F

sharp and D (semi tone- th i rd) : the opening epigram is now

reduced (in different order) to i ts s t ructural notes.

Exam ple 4. Sy m ph ony in B Minor, I , mm . 104-08.

The development wastes no t ime in ge t t ing on wi th the th i rd-

semi tone re la t ionship . After a par t ia l re turn of the opening

figure, now in E minor, a canonic exchange begins at measure

122,  each uni t made up of an ascending third fol lowed by a

descending half s tep.

\\£- \i- \i- \i- \£ \i- \i- ' £

  <

Exam ple 5. Sy m ph ony in B M inor, I, mm . 122-29.

Also begining at this point , the cel los and basses carry on a

sep ara te a c t iv i ty , m oving ch rom at ica l ly f rom C to F sh ar p . A

pedal F sharp i s then susta ined for jus t over e leven measures

(mm. 134-45) wi th no h in t o f dominan t func t ion . The

predominant themat ic ac t iv i ty above tha t i s the out l ine of the

third. This is fol lowed by a new sect ion of potent ial resolut ion

and tension in which two cadent ia l pa t terns fa i l to resolve but

a re m e t w i t h d i m i n i sh e d c h o rd s t h a t a r e d y n a m i c a l l y

cont ras ted in the grea tes t poss ib le way. By measure 170,

expecta t ion has been reversed so tha t the now expected

dim inished chord i s rep laced by a resolu t ion . The resolu t ion

is,  in fact , a return of the opening passage of the work, now in

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3

unison in a lmost the ful l orches t ra and a lso dynamica l ly

contras ted with the beginning of the work in the grea tes t

po ssible w ay . Follow ing the brief excu rsio n in E m inor, the

deve lopment goes on to genera te cons iderable tens ion, wi th the

ton ic p r e p a r a t i o n F s h a r p be g in n ing a t m e a s u r e 202 )

immediate ly preceded by eight measures buil t on a pedal G. Just

before the beginning of the recapitula t ion, the problem is again

presented, now very gently in the f lute .

Example 6. Symphony in B Minor, I, mm. 213-18.

Start ing on E, the l ine moves up a third to G, oscil la tes between

G and F sh arp for tw o bars an d then mo ves up a third to the tonic .

Since stability is desired at the beginning of the recapit

ula t ion, i t should now come as no surprise that this section

omits the f irs t e ight measures which were seen to contain the

tens ion-genera t ing forces . The main changes in the recapi tu la

t ion a re tona l ones w i th the rea pp eara nce of E mino r at m easu re

231,  a second gro up in D major and a re t ur n to B this t ime B

major) for the closing theme. Aside from these, the second

theme is extended an extra four measures , de laying the measure

of silence and  fort chords in a way tha t may for a moment

suggest to the l is tener that the tension has been removed.

Tension, however, is not removed, and the fact that the recapit

ula t ion re i te ra tes both the s tabi l i ty and tens ion of the expos i

t ion suggests that resolution is not about to occur here . Rather ,

the recapi tu la t ion seems to represent a type of immutabi l i ty ,

an a f f i rmat ion of the ubiqui tous na ture of opposi tes and

conflict.

S ince the recapi tu la t ion has not provided a conc lus ion, the

coda is given the function of drawing things together and

making a f ina l s ta tement . A re la t ionship can be observed in

this movement be tween motivic mater ia l and harmonic or tona l

events . The in te rva l l ic re la t ionships of the f i rs t e ight measures

contain the kernel of both the s tabil i ty and the tension of the

movement and these a re rea l ized in mot ivic and tona l re la t ion

s h i p s .  The end of the recapitula t ion, l ike that of the exposit ion,

pre sen ts the four imp or tan t notes B, G, F sh arp , and D) , a l low

ing one to ref lect on the various ways in which these have

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31

inte rac ted. Having omit ted the or igina l e ight measures a t the

beginning of the recapi tu la t ion, Schuber t now presents them in

the ir or ig ina l s ta te . This exac t re turn of the beginning epi

grammatic par t of the work in a sense places the coda outs ide

the discurs ive por t ion of the movement . These e ight measures

or igina l ly s tood as a type of compressed commentary on th ings

to come, and the coda a lso functions as a cr i t ique. The harmonic

tens ion which has cont inued unt i l the coda is now absent as

harmonic s tabi l i ty becomes f i rmly entrenched. Before the

or ig ina l e igh t -measure s ta tement i s comple ted , the winds tu rn

the F sharp in to a dominant chord, leaving no doubt as to i t s

func t ion. This s tabi l i ty sugges ts tha t some type of resolut ion

has been found, but in order to see the full pic ture , thematic

mater ia l must a lso be taken in to account . Immedia te ly a f te r

the opening s ta tement , the upper s t r ings reca l l the beginning of

the deve lo pm ent , a t w hic h point a pa ssag e occurred (Ex. 5)

which had placed the th i rd and semitone toge ther and had been

canonica l ly expanded .

Example 7. Sym phony in B Minor, I, mm.

  338-41.

The development, of course , had gone on to generate a high

degree of tension, and the reflection here on the tension-creating

forces would seem to sugges t tha t they have not d isappeared.

This point i s then reaff i rmed as the semitone is incessant ly

repea ted in the whole orches t ra in measures 340-47, bui ld ing

dynamically and accelerating in pace, followed by a s imilar

treatment of the third in measures 352-63 (Ex. 8) .

By present ing the semitone and th i rd separa te ly in these la rge

blocks , the composer seems to be emphas iz ing the ir pola r

charac te r . In the end there is no rea l synthes is but ra ther the

opposing forces are placed s ide by s ide in a way that they may

be seen as being compatible .

Not unl ike Go ethe , Sch ub er t s v iew of exis ten ce a t th is

t ime was shaped by an unders tanding of pola r i t ies . His new

concept ion of the sym ph on y wa s one in w hich the sy m ph on y

became a much closer ref lection of matters of exis tence, moreso

than a s ty l is t ic change in tended to br ing his symphonic works

in l ine with those of another composer.

7

  The par t icula r v iew of

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3

Exam ple 8. Sy m ph ony in B Minor, I , mm . 340 -63.

exis tence which Schuber t shared with the grea tes t minds of h is

gen era t ion w as on the one ha nd a m at te r of grea t in t im acy s ince

his own inner peace was very much at issue. But a lso, l ike his

contemporar ies who shared the view, there was a sense of

respons ibi l i ty to soc ie ty in tha t the rea l iza t ion of how opposi tes

can coexis t wi thout caus ing dis in tegra t ion should be shared

with a l l . In a musica l work th is coexis tence could be demon

s t ra ted be t te r than by any other means , and the symphony,

inten ded as i t w as for la rge aud ience s , becam e the idea l vehic le .

The fact that the  nfinished  w as not perform ed un t i l 1865

sho uld not de trac t from th e po ss ib i l i ty tha t Sc hu be r t s n ew

concept ion of the symphony may have been re la ted to a new

at t i tude on his par t to h is audience .

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NOTES

1.  This view is s trongly advocated by Gotthold Lessing in his Masonic

work Erns t

  und Folk

See Allison 1966:137-39.

2.

  Set by Schu bert for M ale Voice Octet wit h str ing accom panim ent

(D .

  704) and Male Voice Chorus with pianoforte accompaniment (D. 705) in

December 1820, and again for Octet, four tenors and four basses, with accom

paniment for s tr ing instruments (D. 714) in February 1821.

3.  A fragm ent for a male voice (D. 721) w rit ten in March 1821 . Ac cord ing

to Deu tsch, the fragment of March 1817 (D. 549) for a female voice wa s pr ob ab ly

completed.

4.

  It is a lso noteworthy that some of these songs were very much on

Sc hu ber t's m ind late in 1822. On 7 Decem ber 1822, he inform ed Joseph vo n

Spaun that a long with three songs dedicated to him would be issued the three

songs of the Harp er, Suleika, and Geheim es. See Deu tsch 1946:247-49.

5.

  A fact to which others would certainly attest. See Griffel 1975:252.

6. By the end of the exposition the polarities have become fairly evident,

and the practice of omitting the repeat of the exposition in perform ance dep rives

the l is tener of the opportunity to reaffirm the presence of the polarit ies in the

first eight measures.

7.

  A strong case could be mad e, howev er, for an awa ren ess on

Schubert 's part of Beethoven's use of the symphony as a means for disseminat

ing ideas which could contribute to the betterment of mankind. See Downs

1970:585-604.

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  4

REFERENCES

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  Lessing and  the Enlightenment.  An n Arb or : U nive rs i ty of

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CHUSID, M.

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  The His tor ica l Background , in Franz Schu ber t :

  Symphony

in B Minor

  ( Unfinished ) . N ew Yo rk: W.W. No rton.

DEUTSCH, O. E.

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Blom. London: J.M. Dent.

DOWNS, P.G.

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  Beethoven's 'New Way' and the

  Eroica The Musical

Quarterly,  LVI/4, 585-604. Re printed in Lang, Pau l Hen ry,

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EINSTEIN, A.

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  Schuber t ' s App roach to the Sym phony . Un publ i shed Ph .D.

disser ta t ion , Columbia Univers i ty .

HATFIELD, H.

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  Cam br idge , M ass . : Ha rva rd

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  Tonal i ty in Sch uber t , in Essay s and

  Lectures on Music.

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ZEYDEL, E.H.

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  Goethe, the  Lyricist.  2nd edit ion. Ch apel Hill : U niv ersi ty of

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