In his Third Symphony, Franz Schubert reveals his most classical side—yet with the irreverence of an 18-year-old. Here, formal rigour and dialogues between the different instrumental sections predominate. As a result, it may sound less romantic than the roughly six hundred songs he composed. Still, it continues to surprise with fresh ideas that emerge at every turn of the page. In particular, the immense energy of the final movement, set to the rhythm of the tarantella, stands out. This conclusion recalls the comic operas that were so popular in the early 19th century.
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In 1815, the year this symphony was composed, Vienna was a city undergoing profound transformations within a short span of time. Napoleon’s troops had occupied it between 1809 and 1813, causing a tremendous disruption in cultural life, and especially in the activities of professional and private orchestras that had previously been funded by the aristocracy. As a result, small amateur ensembles predominated, with more modest instrumental resources, catering to the main entertainment needs of domestic gatherings. In the Schubert household, a small instrumental ensemble was formed, initially made up of family members. However, it soon grew as musician friends joined in. Before long, it had developed into an orchestra large enough to perform symphonies by Mozart and Haydn. This was the context that encouraged Schubert to venture into the realm of orchestral music. Accordingly, his early symphonies display influences from those two composers, as well as from Beethoven’s early creative period. Yet his personal stamp asserts itself through a joyful atmosphere and a rhythmic and melodic fluency that blossoms from bar to bar.
In this Third Symphony, rhythmic and orchestral patterns inspired by folk music prevail. One hears repetitive cells punctuated by strong beats in the double basses, syncopated responses in the violins, and lively interjections from the winds at every turn. It is such sonic textures that propel and shape the work. There is, therefore, little room left for long-spun melodies. Everything feels simple and spontaneous, with successive allusions to traditional dances. It opens in a solemn mood, then turns pastoral, but soon plunges into bursts of creativity built on small melodic motifs and delightfully playful orchestration. Grace and humour take the stage in the second movement, in place of cantabile lyricism. The minuet, rustic in character, resonates with worldly influences. Finally, a Presto vivace seems to converse with Rossini’s operas, offering writing full of vitality, dizzying imagination, and musical ideas grounded in irresistibly engaging contrasts.
Rui Campos Leitão
Image: Retrato de Franz Schubert 1825 / Wilhelm August Rieder / Source: Wikimedia Commons