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This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Franz Schubert

ChatGPT4o writes as follows (please note that it may not be accurate):

Despite not achieving financial success during his short life, many of Schubertʼs works were appreciated posthumously. He died at the age of 31, but his music greatly influenced Romantic composers and continues to be loved today.

ChatGPT4o asked: "The numbering of Schubertʼs symphonies has been changed several times. How has the numbering of the so-called ʼUnfinished Symphonyʼ changed?"

The numbering of Schubertʼs “Unfinished Symphony” has changed as research and publication progressed, as follows:

1. Early Recognition
   The “Unfinished Symphony” (in B minor, D 759) was long forgotten among Schubertʼs symphonies, and its premiere took place only after his death in 1865. Initially, this work was not firmly established as one of Schubertʼs symphonies.

2. Treated as No. 7
   From the late 19th to early 20th century, the “Unfinished Symphony” became known as Symphony No. 7. This was because it was discovered in Schubertʼs complete symphonies and positioned based on the existing numbering.

3. Change to No. 8
   In the mid-20th century, as research on Schubertʼs symphonies advanced, the once-lost Symphony in D major, D 936a (a partially surviving draft), was designated as “No. 7.” Consequently, the “Unfinished Symphony” was reclassified as Symphony No. 8.

4. Current Convention
   Further research has organized the numbering of Schubertʼs symphonies, and the “Unfinished Symphony” is sometimes referred to as Symphony No. 7, but in many cases, the name Symphony No. 8 is commonly used.

Current Discussion

Some scholars believe that the unique name of the work (“Unfinished Symphony”) should be emphasized over numbering. Therefore, the number may vary depending on the context, and it is often distinctly identified by its D number (D 759).

ChatGPT4o asked: "There are other unfinished symphonies by Schubert, so itʼs unclear which one is referred to as the ʼUnfinished Symphonyʼ."

As you pointed out, there are several symphonies by Schubert that remain in an “unfinished” state. This can lead to confusion about which specific work is referred to as the “Unfinished Symphony.” Below is an explanation of Schubertʼs unfinished symphonies.

1. Symphony in B minor, D 759 (commonly known as the “Unfinished Symphony”)

• Overview: Schubertʼs most famous unfinished symphony, with only the first and second movements completed. A portion of the third movement exists as a sketch, but the entire work was never completed.
• Number: Symphony No. 7 or No. 8 (depending on the context).
• Characteristics: This symphony is referred to as the “Unfinished Symphony” due to its high recognition and musical completeness, making it a symbolic work.

2. Symphony in E major, D 729 (a candidate for the “Unfinished Symphony”)

• Overview: This symphony has drafts for all movements, but the orchestration remains incomplete.
• Number: Sometimes referred to as Symphony No. 7.
• Characteristics: Although not complete, the structure of all movements is understood, and later arrangers have completed it for performance.

3. Symphony in D major, D 936A

• Overview: This work was conceived in Schubertʼs later years, with only partial sketches remaining. Reconstructing the entire work is difficult, and it is classified as “unfinished.”
• Number: Often not given an official number, it is treated as one of Schubertʼs unfinished works.
• Characteristics: The existing parts suggest a work of very ambitious scale.

4. Symphony in D minor, D 797 (from the incidental music to “Rosamunde”)

• Overview: It is thought that part of the incidental music for “Rosamunde” was conceived as a symphony, but it was not clearly left as a symphony.
• Characteristics: Sometimes treated as a fragment of a symphony.

Summary and Conclusion

While Schubert has several unfinished symphonies, the term “Unfinished Symphony” usually refers to B minor, D 759. The reasons are as follows:

1. The two completed movements are musically very complete.
2. Its popularity and recognition since its premiere are unmatched by other unfinished works.
3. The term “unfinished” symbolically expresses the work.

However, other unfinished symphonies are also important research subjects, and D 729, in particular, is often completed for performance and attracts attention.

ChatGPT4o asked: "I heard that Schubertʼs symphonies were not performed during his lifetime. Why did he attempt to create ambitious symphonies despite this?"

There are several factors that may explain why Schubert attempted to compose ambitious symphonies despite having few opportunities for their performance during his lifetime. These are organized and explained below.

1. Respect and Challenge for Symphonies

Schubert greatly admired Beethoven">Beethoven and Mozart">Mozart, and Beethovenʼs symphonies, in particular, had a significant impact on him. Schubert was fascinated by the formal scale and expressive power of the symphony genre and likely harbored the ambition to leave works that would join this tradition.

• Influence of Beethoven: Schubert may have directly heard the premiere of Beethovenʼs Ninth Symphony (1824), and its influence is seen in his later symphonies.
• Challenge as a Composer: The symphony was an important genre to demonstrate a composerʼs prowess, and Schubert likely challenged himself to test his compositional skills.

2. Aspiration for a Scale Unachievable in Chamber Music or Songs

While Schubert received high praise for his songs and chamber music, symphonies allowed for a larger scale of musical expression that could not be achieved in those forms. He was likely interested in depicting a more expansive musical world using the large-scale orchestral ensemble.

3. Expectation for Public Recognition

In Schubertʼs time, symphonies were generally positioned as music for public concerts or court performances. He may have hoped to gain broader audience approval or recognition from court orchestras through the success of his symphonies.

• For example, Symphony No. 5 in B-flat major, D 485, composed in 1816, may have been performed by an amateur orchestra in Vienna, indicating that Schubert had live performances of symphonies in mind.

4. Self-Expression as a Composer

For Schubert, composing symphonies had meaning not only as “external success” but also as “self-expression.” As he approached the end of his life, especially in Symphony No. 8 “Unfinished” and No. 9 “The Great,” he sought to express his unique style through the large-scale medium of the orchestra.

• No. 9 “The Great”: This work is very large in scale and demonstrates the breadth of Schubertʼs musical vision.

5. Presence of Friends and Supporters

Schubert had friends and associates who supported his music and highly valued his talent. These people likely encouraged Schubert to take on new challenges and compose symphonies. Particularly, the fact that Schubertʼs music was loved in the homes and salons of amateur musicians may have encouraged him.

6. Internal Creative Impulse

Schubert was a composer with a strong creative impulse, even if there was little prospect of his works being performed. Many of his vast number of songs were never performed during his lifetime, yet he continued to compose because, for him, composing was synonymous with “living.” Symphonies, too, were likely created from internal motivations that transcended external factors.

Conclusion

The background to Schubertʼs attempt to create ambitious symphonies includes a combination of challenges as a musician, self-expression, respect for the symphonic form, and internal creative desires. Although his symphonies were rarely performed during his time, these works occupy an important place as symbols of Schubertʼs musical legacy.

ChatGPT4o asked: "There seems to be a significant time gap between the composition of Symphony No. 6 and No. 7. Why is that?"

There are several factors that may explain the time gap between Schubertʼs Symphony No. 6 in C major, D 589, and Symphony No. 7 in E major, D 729. These factors are outlined below.

1. Busy Compositional Activity

Around the time Symphony No. 6 was completed in 1818, Schubert was actively composing in many genres. Particularly, his songwriting, chamber music, and piano compositions were very prolific, possibly leaving little room to focus on symphonies.

• Success in Songs: During this period, Schubertʼs songs reached a significant maturity, with famous pieces like “Auf dem Wasser zu singen” (D 774) and “Der Lindenbaum” (D 911) being created.
• Chamber Music Activity: For example, string quartets and the Piano Quintet “The Trout” (D 667) are also achievements from this period.

2. Lack of Performance Opportunities

Schubertʼs symphonies were rarely performed during his lifetime. This may have weakened his motivation to create new symphonies.

• Composing for Amateurs: Symphony No. 6 is said to have been composed with the possibility of performance by an amateur orchestra in Vienna in mind, but subsequently, opportunities to showcase symphonies likely decreased further.

3. Influence of Beethoven

During this period, Schubert may have felt great respect and overwhelming influence from Beethovenʼs symphonies.

• Premiere of Beethovenʼs Ninth Symphony (1824): The groundbreaking work presented by Beethoven is thought to have been a major shock to Schubert. This may have led him to set higher goals for his symphonies and become more cautious.
• Pressure of Challenge: The pressure to create large-scale symphonies like Beethovenʼs may have temporarily distanced Schubert from symphonies.

4. Ambitious Scale of Conception

Symphony No. 7 (D 729) is a work of very ambitious scale but remains unfinished. This work may have required a long path to completion, consuming much of Schubertʼs energy and time.

• Difficulty in Constructing the Whole: Although the draft of No. 7 spans all movements, the orchestration is incomplete. It was a new challenge for Schubert to tackle a work of this scale, which may have taken time.

5. Health Issues and Economic Hardships

During this period, Schubert suffered from health issues (possibly syphilis) and faced economic difficulties. This is considered one of the reasons that made it difficult to concentrate on large-scale symphonies.

6. Change in Personal Interests

After 1818, Schubert may have shifted his interest from symphonies to song cycles and theatrical music, which could be completed in a shorter time. Additionally, in the musical environment of the time, songs were a more practical choice for Schubert.

Conclusion

The gap between Symphony No. 6 and No. 7 is intertwined with Schubertʼs busy compositional activity, lack of opportunities to perform symphonies, pressure from Beethovenʼs influence, health issues, and economic hardships. However, during this period, Schubert produced numerous masterpieces in songs and chamber music, indicating that his creativity did not wane but rather focused on other genres.

ChatGPT4o asked: "The ʼUnfinished Symphonyʼ is frequently performed, but the first six symphonies have fewer opportunities for performance. Also, they donʼt seem as appealing when listened to. Is there something during this period that caused this?"

The reasons why Schubertʼs first six symphonies have fewer performance opportunities and may not seem as appealing involve the historical context of the time, Schubertʼs own developmental process, and the musical historical context. These are explained in detail below.

1. Schubertʼs Early Symphonies as a “Period of Experimentation”

The first six symphonies were written as Schubert developed his compositional techniques while modeling after the symphonies of predecessors like Mozart, Haydn, and Beethoven. Therefore, these works exhibit the following characteristics:

• Adherence to Traditional Forms: Based on the Classical style of Mozart and Haydn, with few particularly innovative elements.
• Developing Individuality: Schubertʼs unique qualities, such as the beauty of melody and deep emotional expression, are not yet fully realized. Especially in Symphonies No. 1 to No. 3, elements of imitation are strong.

While these symphonies are technically excellent, Schubertʼs distinctive drama and poetic sense mature in later works (such as the “Unfinished Symphony” and No. 9 “The Great”), which makes these early symphonies seem relatively ordinary.

2. Historical Context and the Role of Symphonies

The 1810s, when Schubertʼs early symphonies were composed, was a time when symphonies were generally performed as music for courts or amateur orchestras rather than public concerts.

• Composing for Amateurs: Schubertʼs first symphonies are said to have been written with friends and amateur orchestras in Vienna in mind. Therefore, they avoid excessive technical complexity and have a simple, approachable structure. However, this can also lead to a sense of “lack” in terms of excitement.

3. Influence and Comparison with Beethoven

During the time Schubertʼs symphonies were composed, Beethoven had already released groundbreaking symphonies (especially from the Third Symphony “Eroica” onwards), fundamentally changing the concept of symphonies. Schubertʼs early symphonies, being traditional and modest in style compared to Beethovenʼs innovations, may appear inferior in comparison.

• Schubertʼs Position: Due to Beethovenʼs overwhelming influence, Schubert may have found it difficult to establish himself as a “symphony composer” in the eyes of contemporary audiences.

4. Contrast with the “Unfinished Symphony”

The “Unfinished Symphony” is a work where Schubertʼs individuality is fully expressed, particularly characterized by:

• Deep Emotional Expression: The dramatic beginning in B minor of the first movement and the beautiful melody of the second movement reflect Schubertʼs inner world.
• Freedom of Form: The structure of completing in just two movements itself is innovative and emphasizes Schubertʼs uniqueness.

In comparison, the first six symphonies are more traditional in form, with less originality and strong emotional expression, leading to a weaker impression.

5. Background of Less Appeal

The reason the first six symphonies may not seem as appealing is that Schubert had not yet found his unique voice in the symphony genre. The following factors are related:

• Lack of Melodic Individuality: The beautiful melodies seen in Schubertʼs songs and later symphonies are still modest in these early works.
• Lack of Drama: Compared to the “Unfinished Symphony” and No. 9, there is less dramatic tension and emotional depth.
• Simplicity of Structure: Based on Classical tradition, there is little novelty or surprise.

6. Room for Reevaluation

In recent years, these early symphonies have been reevaluated as important works for understanding Schubertʼs developmental process. Additionally, they can be enjoyed for their approachable nature based on Classical tradition, and there is potential for increased performance opportunities.

Conclusion

The reasons why Schubertʼs first six symphonies have fewer performance opportunities and may not seem as appealing compared to the “Unfinished Symphony” involve the composerʼs developing style, historical context, and comparison with Beethoven. However, they represent important steps in Schubertʼs journey to finding his unique voice and are interesting works that demonstrate his mastery and experimentation in composition.

ChatGPT4o asked: "It seems that Dussek is more of a precursor to Romantic music than Beethoven. Did Schubert take influence from Dussek?"

There is no definitive evidence that Schubert was directly influenced by Dussek (Jan Ladislav Dussek, 1760–1812). However, it is quite possible that Schubert had opportunities to encounter the characteristics and style of Dussekʼs music. There are several commonalities between their music, and interesting connections can be seen, particularly in the following aspects.

1. Dussek and the Pioneering of Romantic Music

Dussek is considered a precursor to Romantic music for the following reasons:

• Rich Emotional Expression: Dussekʼs music, while adhering to Classical forms, is characterized by emotionally rich melodies and harmonic progressions, showing pioneering elements of Romantic music.
• Innovation in Keyboard Music: Dussek expanded the technical and expressive possibilities of the piano, particularly in “fantasies” and “lyrical music,” opening new horizons.
• Flexibility of Structure: Often incorporating free structures beyond strict Classical forms, this resonates with Schubertʼs improvisational and free sense of form.

2. Points of Contact between Schubert and Dussek

There is no direct teacher-student relationship between Schubert and Dussek, and there is no clear evidence of how much Schubert knew of Dussekʼs works, but indirect influences can be considered in the following points:

• Dissemination of Musical Culture: Dussekʼs music was known throughout Europe, including Vienna, and Schubert may have had opportunities to encounter it. Particularly, Dussek was an important composer of keyboard music at the time, and his works may have been performed in Viennese salons and domestic music settings.
• Sentimental Style (Empfindsamer Stil): Dussekʼs expressive style, known as Empfindsamer Stil, shares similarities with Schubertʼs melodic and harmonic characteristics. Schubertʼs songs and piano works exhibit emotional expression and lyricism similar to Dussekʼs.

3. Similarities

There are the following commonalities between Dussek and Schubert:

• Flowing Melodies: Dussek excelled in lyrical melodies, and there are elements in common with the beauty of melodies in Schubertʼs songs and piano pieces.
• Free Sense of Form: Schubertʼs “Unfinished Symphony” and late piano sonatas have characteristics similar to Dussekʼs free sense of form and emotional development.
• Fantasy and Improvisation: Dussekʼs fantasies and variations often have an improvisational and free structure, which seems to resonate with Schubertʼs fantasies (e.g., “Wanderer Fantasy” for piano, D 760).

4. Possibility of Indirect Influence

While it is unlikely that Schubert was directly influenced by Dussek, there may have been indirect influences through the following routes:

• Viennese Musical Environment: In Vienna, where Schubert was active, works by Dussek and other composers of the Empfindsamer Stil (such as C. P. E. Bach and Haydn) were generally known. This may have allowed Schubert to unknowingly encounter Dussekʼs music.
• Influence of Teachers and Peers: Schubertʼs teacher, Antonio Salieri, and the musicians around him may have been familiar with Dussekʼs music.

Conclusion

There is no clear evidence that Schubert was directly influenced by Dussek, but there are many similarities in their music, and there may have been indirect influences or shared musical trends. Particularly, Dussekʼs expressive style and free sense of form, known as Empfindsamer Stil, share elements with Schubertʼs music, and Dussekʼs role as a precursor to Romantic music may have had some influence on the background of Schubertʼs music.

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