Abstract

Two approaches to Schubert's "Unfinished Symphony" - and, in particular, the first movement of the work - are discussed; they are designed either for pupils who have no technical/historical knowledge of music or for those who have a certain grounding in these. With the former group, stress is placed on the new expressive power of the chosen symphony; comparative links with the literature of the day (in particular Jean Paul's "Die Warheit" - "Ein Traum") serve to present Schubert's masterpiece in its historical and cultural context. This approach is more fruitful than the usual consideration of the creation of a piece of music in relation to biography of the composer. In fact, it is more useful to try and explain the life of a composer through his music rather than music through his life. Clearly, biographical information must come into play, but mainly to stimulate the students to carry out documentary research into sources and into the events that accompained the creation of musical works; it should never be presented as if, by itself, such information gives any sort of complete explanation of the work in question. Hence, for example, the research into the "non finished" characteristic of Shubert is certainly not restricted to the symphony in question. In the case of the second group, certainly the above mentioned points should not be ignored (as if they were important only for the "musically illiterate"). However, here particular focus is placed on the role of the symphony genre in Schubert's "oeuvre". Various points of analysis are raised, with symphonies by other contemporary composers (Beethoven, Ries) being listened to and offering materials for comparison. There are also parallels drawn with other Schubert symphonies and an analysis of the more significant passages in the first movement of the "Unfinished". Some of the aspects discussed include: the choice of the key of B minor; the new type of "cantabile"; the particular function of the accompaniament; the special sonata form, with the presence of a first theme that is almost a "leitmotiv" or lead character; the use of dissonance; the modulating transition in thirds; the use of the trombones. Each of these brings out the special features of the work in terms of morphology, harmonics and timbre.