« Unfinished symphony» B minor is one of the most famous works Austrian composer Franz Peter Schubert, dedicated to the amateur musical society in Graz. In 1824 the first two parts were presented.
In 1865, the Viennese court bandmaster Johann Herbeck, compiling the program of a concert of old Viennese music, rummaged through piles of forgotten manuscripts. In the unsorted archive of the chairman of the Styrian amateur musical society A. Huttenbrenner, he discovered a previously unknown score by Schubert. It was a B minor symphony. Under the direction of Herbeck, she sounded for the first time on December 17, 1865 in a concert of the Vienna Society of Music Lovers.
Franz Schubert created the Unfinished Symphony for recent months 1822. During these yearsSchubert wasalready widely known in Vienna as the author of many fine songs and popular piano pieces, but as a symphonist, no one, except for his closest friends, knewand none of his symphonies have been publicly performed. The new symphony was first created as an arrangement for two pianos, and then as a score. In the piano edition, sketches of three movements of the symphony have been preserved, while the composer recorded only two in the score. Schubert did not return to her again, becausethe symphony was called: "Unfinished"
Gustav Klimt "Schubert at the piano" 1899
Debates are still ongoing about whether this symphony is really unfinished, or whether Franz Schubert fully embodied his plan in two parts instead of the generally accepted four. Its two parts leave an impression of amazing integrity, exhaustion, which allows some researchers to assert that the composer did not intend to continue, since he embodied his idea in two parts. However, sketches of the score of the third movement have been preserved, for some reason left in the sketch. Moreover, among the music for the play "Rosamund", written in the same period, there is an intermission, also written in B minor - a key extremely rarely used - and similar in character to the traditional symphonic finale. Some researchers of Schubert's work are inclined to believe that this intermission, coupled with sketches of a scherzo, constitutes the usual four-movement cycle.
This was not his first symphony, which turned out to be unfinished: before that, in August 1821, he wrote a symphony in E major, it is considered the Seventh, the score of which was written in sketch. In general, to create a work that begins in B minor and ends in E major,at the time of Schubertwas completely unthinkable.
About the life and work of the outstanding Austrian composer Franz Schubert in 1968, the good old Soviet TV show "Unfinished Symphony" was released.
Schubert Kalyagin is very organic and charming. And Vedernikov in the most penetrating way singsbehind the scenes
Despite some naivety and quite natural for its time and the chosen genre didacticity,the movie is interesting. The conscientiousness of the authors in the transfer of the portrait resemblance of the characters and their game is impressive.
Vocal parts: A. Vedernikov, E. Shumskaya, G. Kuznetsova, S. Yakovenko.
The melody of the first movement is simple and expressive, as if praying for something, intoned by the oboe and clarinet. An agitated, quivering background and outwardly calm, but filled with internal tension cantilena create the brightest expressive, typically romantic image. Gradually, the tape of the melody unfolds. The music becomes more and more tense, reaching fortissimo. No binder, mandatory Viennese classics, separated only by a laconic transition (stretching sound of horns) from the main part, a side part begins. A soft waltz melody is sung by the cellos at ease. There is an island of serene peace, a bright idyll. Measured swaying, as if lulling, accompaniment. This theme acquires an even brighter character when it is picked up and transferred to a higher register of the violin. Suddenly, the free, unconstrained chant-dance breaks off. After complete silence (general pause) - an explosion of orchestral tutti. Another pause - and another burst of thunder tremolo. The idyll is interrupted, the drama comes into its own. Crushing chords rise violently, fragments of the accompaniment of a secondary theme answer with plaintive groans. She seems to be trying to break through to the surface, but when she finally returns, her appearance has changed: she is broken, painted with sorrow. At the end of the exposure, everything freezes. Returns, like inevitable fate, the mysterious and ominous motive of the entry. The development is built on the opening motive and intonations of the accompaniment of the side part. Drama intensifies, developing into tragic pathos. Musical development reaches a colossal climax. Suddenly there is complete prostration. Exhausted fragments of motives dissipate, only a lonely dreary note remains. And again crawls from the depths opening theme. The reprise begins. The coda, in the tradition of Beethoven, was created as a second development. It contains the same painful tension, the pathos of despair. But the fight is over, there is no more strength. The last bars sound like a tragic epilogue.
The second part of the symphony is a world of other images. Here - reconciliation, the search for other, brighter sides of life, contemplation. Like a hero who survived emotional tragedy looking for oblivion. Bass steps (double bass pizzicato) sound measuredly, they are superimposed by a simple, but surprisingly beautiful violin melody, dreamy and sincere. Repeatedly repeated, it varies, overgrown with expressive chants. Short-term dynamic rise of tutti - and again a calm movement. After a small bunch appears new look: the melody is naive and, at the same time, deep, more individual than the first theme, sad, in warm, reminiscent human voice the timbres of the clarinet and the oboe that replaces it, filled with lively trepidation. It's a side party of concise sonata form. It also varies, acquiring at times an agitated character. Suddenly there is a turning point in its smooth flow - it sounds dramatic in a powerful presentation of the entire orchestra. But a short burst is replaced by an expressive, imitation-rich development: this is a brief development, ending with long chords of strings, the mysterious calls of horns and individual woods. Subtle orchestral sound recording leads to a reprise. In the code there is a fading, dissolution initial theme. Silence returns...
L. Mikheeva
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Franz Schubert (1797–1828) A brilliant Austrian composer who laid the foundation for European musical romanticism, Schubert is one of the most tragic figures in the history of the world musical culture. His life, short and joyless, not rich in events, was cut short when he was in the prime of life and talent. great musician died without hearing most of his compositions. In many ways, the fate of his music was also tragic: priceless manuscripts, partly kept by friends, partly donated to someone, and sometimes simply lost in endless journeys, for a long time could not be put together. Some disappeared forever, the fate of others is unclear. Researchers are still arguing about the legacy of Schubert. A contemporary of Beethoven, who survived him by only one year, Schubert nevertheless belongs to a completely different generation. If Beethoven's creativity was formed under the influence of the ideas of the Great french revolution and embodied her heroism, her ideals, Schubert's art was born in an atmosphere of disappointment and fatigue. In his time there was no longer any talk of universal human problems, of the reorganization of the world. The struggle for all this seemed pointless. The most important thing seemed to be to preserve honesty, spiritual purity, the values of one's spiritual world. century. He became the greatest innovator in symphonic genre, creating a fundamentally different type of symphony compared to the classical one. True, he himself did not realize this and considered his masterpiece - "Unfinished" - unsuccessful. Schubert's symphonies are reflected various genres folk music multinational Austrian empire - Tyrolean yodels, Austrian landlers, Viennese waltzes, peasant songs - Czech, Slovak, Moravian, Italian, Hungarian. Arose completely new type symphonism - song, which will then find its continuation in the work of Bruckner and Mahler. Schubert's symphonies are different in content, in terms of moods - from lyrics and landscape sound painting to heroic impulse and deep tragedy. “It is wrong to present a universal creator in the first place as the creator of a song in which, of course, he is inimitable,” wrote Glazunov about Schubert. - He is no less inaccessible (my detente. - L. M.) as an instrumentalist and symphonist. His chamber and orchestral works amaze with the grandeur and grandeur of the idea. Orchestral music by Schubert. In his youth, Schubert led and conducted a student orchestra. Then he mastered the skill of instrumentation, but life rarely gave him reasons to write for the orchestra; after six youthful symphonies, only the symphony in B minor (Unfinished) and the symphony in C major (1828) were created. In the series of early symphonies, the fifth (in B minor) is the most interesting, but only Schubert's Unfinished introduces us to new world, far from classic styles composer's predecessors. Like theirs, the development of themes and textures in Unfinished is full of intellectual brilliance, but in terms of the strength of the emotional impact, Unfinished is close to Schubert's songs. In the majestic C-major symphony, such qualities are even brighter. The music for Rosamund contains two intermissions (B minor and B major) and lovely ballet scenes. Only the first intermission is serious in tone, but all the music for Rosamund is purely Schubertian in terms of the freshness of the harmonic and melodic language. Among other orchestral works, overtures stand out. In two of them (C major and D major), written in 1817, the influence of G. Rossini is felt, and in their subtitles (given not by Schubert) it is indicated: "in the Italian style." Also of interest are three opera overtures: Alfonso and Estrella, Rosamund (originally intended for early writing Magic harp - DieZauberharfe) and Fierrabras - the most perfect example of this form in Schubert. Schubert wrote 9 symphonies. During his lifetime, none of them was performed. He is the founder of the lyric-romantic symphony and the lyrical-epic symphony. Of Schubert's 9 symphonies, 6 early ones (1813-1818) are still close to the works of the Viennese classics, although they are distinguished by romantic freshness and immediacy. The lyric-dramatic 2-part "Unfinished Symphony" (1822) and the majestic heroic-epic "Great" symphony in C major (1825-1828) became examples of romantic symphonism. The lyrical-dramatic "Unfinished Symphony" was written in 1822, at the time of the composer's creative dawn. First time personal lyrical theme became the basis for the symphony. Song pervades it. It pervades the entire symphony. It manifests itself in the character and presentation of topics - melody and accompaniment (as in a song), in form - a complete form (as a couplet), in development - it is variational, the proximity of the sound of the melody to the voice. The symphony does not consist of four parts, as is customary, but of two. Schubert set to work on the third - the minuet, as required by the classical symphony, but abandoned his idea. This is typical for the era of romanticism: as a result of free lyrical expression, the structure of the symphony changes (a different number of parts). The symphony, as it sounded, was completely completed. Everything else would be superfluous, unnecessary. None of Schubert's symphonies was ever performed during the composer's lifetime. Moreover, both the seventh and eighth symphonies were lost. The score of the eighth ten years after the death of the composer was found by Robert Schumann, and the famous "Unfinished" was first performed only in 1865.
If you have nothing to say, then there is nothing to sing. (Franz Schubert)
Franz Schubert, 1797-1828, Austrian composer of romantic songs and ballads, vocal cycle, piano miniature, symphony, instrumental ensemble. Song permeates the compositions of all genres. Author of about 600 songs (to the words of F. Schiller, I.V. Goethe, G. Heine), including from the cycles "The Beautiful Miller's Woman" (1823), "The Winter Road" (1827, both to the words of W. Müller ); 9 symphonies (including "Unfinished", 1822), quartets, trios, piano quintet "Trout" (1819); piano sonatas(St. 20), impromptu, fantasies, waltzes, landlers.
As one of the true masterpieces of music, the lyric-dramatic "Unfinished Symphony" in B minor, No. 8 deserves special attention. A personal lyrical theme has never been at the heart of a symphony before. It manifests songliness in the presentation of themes - melody and accompaniment (as in a song), a finished form (as a verse), in development - it is variational, the symphony is permeated by the proximity of the sound of the melody to the voice. Each individual theme sings with a voice.
The image of the introduction is gloomy, hidden, it sounds in unison with the cellos and double basses in the lower register as an alarming foreboding. The main part of the oboe with clarinet is sincere, elegiac, drawn out, touching. Side part - light, friendly, song and dance with a tertian ratio of tonalities with main party. We see the same in the second part.
The development is based on the theme of the introduction. It sounds rich, dense, tense, dramatic. We hear good polyphonic receptions.
The second part is full of the same touching thoughtfulness: in nature and dreams, the hero finds refuge from the world of evil and misfortune, is transferred to the world of bewitching magical dreams. Here the anxiety and sadness of the first part are overcome. From mental confusion, only a memory remains.
Both themes are remarkable for their amazing beauty: both the broad, melodious main theme and the secondary theme imbued with subtle nuances. A remarkable fading effect was found by the composer at the very end of the work.
It is a great regret that the work was never performed during the composer's lifetime. The manuscript was found by Schumann only in 1839 (for the first time this symphony was performed in the same year in Leipzig under the direction of F. Mendelssohn), and the first performance of the "Unfinished Symphony" was in 1865 (37 years later).
The Unfinished Symphony has attracted great interest over the years due to the fact that, contrary to the rules, it has only 2 movements instead of 4. There are opinions that the symphony is not finished, but, in my opinion, “a sounding biography common man", deeply feeling life, striving to convey the fullness inner life of his personality, down to the most subtle, elusive experiences, is reflected in it quite fully.
lyrical unfinished symphony schubert
Conclusion
Symphony No. 8 is an ideologically completed work. Schubert intentionally did not make the ending for the reason that there can be no ending to suffering and love for the world.
Used Books
1. History and theory of music. Tutorial under the editorship of the candidate of art history Khvoina O.B. - M.: GITR, 2009.
2. Cognitive magazine "School of Life". Article by G. Konstantinova "Schubert and his little man".
3. K. Kuznetsov "Wreath to Schubert".
4. Materials of the international forum of arts "Romanticism: origins and horizons" of the Moscow Conservatory. P.I. Tchaikovsky.
