Schubert Symphony No.5: Is it really a Mozart copy?

by

Liao Kelvin

A thesis submitted in partial fulfilment of the

requirements for the Degree of Bachelor of Arts (Honours)

in Music Studies at The Hong Kong Baptist University

May 2015
 Declaration
I declare that this thesis is my own work, except where due acknowledgement is

made, and that it has not been previously included in a thesis, dissertation or report

submitted to this University or to any other institution for a degree, diploma or other

qualifications.

__________________________________

Liao Kelvin

Hong Kong Baptist University

May 2015

i
 Acknowledgements
I would like to express my deepest gratitude to my supervisor, Dr. Austin Yip, by

inspiring me with questions and ideas, giving me notable advices and editing my thesis.

Under his guidance, I am fully confident to complete this thesis.

I am indebted to Miss Phoebe Leung Yin-ki, for providing basic understandings on

Schubert’s Fifth Symphony, and Dr. Michael Joseph Ryan for teaching me research

methods.

I would like to thank my parents and friends by giving me unlimited spiritual

support.

Liao Kelvin

May, 2015

ii
 Abstract
It has been said that Schubert’s Fifth Symphony was a copy of Mozart’s Fortieth

Symphony. However, in George Edwards’s article, A Palimpsest of Mozart in

Schubert’s Symphony No.5, he concludes that Schubert did not mean to copy Mozart,

but he was just “(doing) something clever” with Mozart. The word “Palimpsest” seems

more to be an irony, rather than its literal meaning.

This thesis investigates on the relationship between the two symphonies by

comparing them in an analytical approach. The general purpose of this research is to

further examine Edwards’s final statement through comparing and analyzing the other

movements of both works. These movements will be compared in various aspects,

including melody, harmony, sections, forms, phrases, orchestrations, dynamics, texture

and typical characteristics. Scott Folgesong’s analysis will also be taken as reference.

Through this analysis, I hope to find out Schubert’s way of composition for his Fifth

Symphony, so as to prove whether Edwards’s assumptions are right. After this research,

I hope to prevent the scholars from misunderstanding these two compositions.

iii
 Table of Contents
Declaration i

Acknowledgements ii

Abstract iii

Table of Contents iv

List of Tables v

List of Figures v

Chapter 1: Introduction

1.1. Rationale Behind 1

1.2. Statement of the Problem 1

1.3. Objectives 2

1.4. Methodology 2

Chapter 2: Literature Review

2.1. Schubert’s Biography 3

2.2. Schubert’s Symphony No.5 in B-flat Major D485 Background 7

2.3. George Edwards’s Analysis of the First Movement 9

Chapter 3: Analysis of the Second, Third and Fourth Movements

3.1. 2nd Movement 15

3.2. 3rd Movement 26

3.3. 4th Movement 42

Chapter 4: Results and Discussion 90

Chapter 5: Conclusion 98

Bibliography 101

iv
 List of Tables
Table 3.1: Mozart’s Symphony No.40 second movement segmentation chart 15

Table 3.2: Schubert’s Symphony No.5 second movement segmentation chart 15

Table 3.3: Mozart’s Symphony No.40 third movement segmentation chart 26

Table 3.4: Schubert’s Symphony No.5 third movement segmentation chart 26

Table 3.5: Mozart’s Symphony No.40 fourth movement segmentation chart 42

Table 3.6: Schubert’s Symphony No.5 fourth movement segmentation chart 42

List of Figures
Figure 2.1: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.20 9

Figure 2.2: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.21 10

Figure 2.3: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.23 11

Figure 2.4: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.31 11

Figure 2.5: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.31 12

Figure 2.6: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.28 13

Figure 2.7: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5

P.29 14

Figure 3.1: Mozart Symphony No.40 2nd movement mm.1-8 16

Figure 3.2: Mozart Symphony No.40 2nd movement mm.7-16 17

Figure 3.3: Mozart Symphony No.40 2nd movement mm.17-19 17

v
Figure 3.4: Schubert Symphony No.5 2nd movement mm.1-4 18

Figure 3.5：Schubert Symphony No.5 2nd movement mm.5-8 18

Figure 3.6: Schubert Symphony No.5 2nd movement mm.7-13 19

Figure 3.7: Schubert Symphony No.5 2nd movement mm.14-20 19

Figure 3.8: Mozart Symphony No.40 2nd movement mm.53-60 20

Figure 3.9: Bass line chart from Mozart Symphony No.402nd movement mm.55-62 21

Figure 3.10: Mozart Symphony No.40 2nd movement mm.67-68 21

Figure 3.11: Mozart Symphony No.40 2nd movement mm.94-96 22

Figure 3.12: Schubert Symphony No.5 2nd movement mm.24-28 23

Figure 3.13: Schubert Symphony No.5 2nd movement mm.34-38 23

Figure 3.14: Schubert Symphony No.5 2nd movement mm.84-89 24

Figure 3.15: Schubert Symphony No.5 2nd movement mm.125-141 25

Figure 3.16: Mozart Symphony No.40 3rd movement mm.36-42 27

Figure 3.17: Schubert Symphony No.5 3rd movement mm.1-8 27

Figure 3.18: Schubert Symphony No.5 3rd movement mm.27-34 28

Figure 3.19: Schubert Symphony No.5 3rd movement mm.51-56 28

Figure 3.20: Mozart Symphony No.40 3rd movement mm.1-6 29

Figure 3.21: Mozart Symphony No.40 3rd movement mm.15-21 30

Figure 3.22: Mozart Symphony No.40 3rd movement mm.15-21 30

Figure 3.23: Schubert Symphony No.5 3rd movement mm.35-46 32

Figure 3.24: Schubert Symphony No.5 3rd movement mm.69-79 32

Figure 3.25: Schubert Symphony No.5 3rd movement mm.19-22 33

Figure 3.26: Mozart Symphony No.40 3rd movement mm.11-14 34

Figure 3.27: Schubert Symphony No.5 3rd movement mm.61-66 35

Figure 3.28: Mozart Symphony No.40 3rd movement mm.43-53 36

Figure 3.29: Mozart Symphony No.40 3rd movement mm.54-64 37

vi
Figure 3.30: Mozart Symphony No.40 3rd movement mm.65-74 37

Figure 3.31: Mozart Symphony No.40 3rd movement mm.75-84 38

Figure 3.32: Schubert Symphony No.5 3rd movement mm.89-97 40

Figure 3.33: Schubert Symphony No.5 3rd movement mm.98-107 40

Figure 3.34: Schubert Symphony No.5 3rd movement mm.108-117 41

Figure 3.35: Schubert Symphony No.5 3rd movement mm.118-128 41

Figure 3.36: Mozart Symphony No.40 4th movement mm.1-7 44

Figure 3.37: Mozart Symphony No.40 4th movement mm.8-15 44

Figure 3.38: Mozart Symphony No.40 4th movement mm.16-24 45

Figure 3.39: Mozart Symphony No.40 4th movement mm.25-32 45

Figure 3.40: Schubert Symphony No.5 4th movement mm.1-9 47

Figure 3.41: Schubert Symphony No.5 4th movement mm.10-21 48

Figure 3.42: Schubert Symphony No.5 4th movement mm.22-32 48

Figure 3.43: Schubert Symphony No.5 4th movement mm.33-43 49

Figure 3.44: Mozart Symphony No.40 4th movement mm.33-38 51

Figure 3.45: Mozart Symphony No.40 4th movement mm.39-45 51

Figure 3.46: Mozart Symphony No.40 4th movement mm.46-51 52

Figure 3.47: Mozart Symphony No.40 4th movement mm. 52-57 52

Figure 3.48: Mozart Symphony No.40 4th movement mm. 58-63 53

Figure 3.49: Mozart Symphony No.40 4th movement mm. 64-61 53

Figure 3.50: Schubert Symphony No.5 4th movement mm.44-52 56

Figure 3.51: Schubert Symphony No.5 4th movement mm.53-64 56

Figure 3.52: Schubert Symphony No.5 4th movement mm.65-74 57

Figure 3.53: Schubert Symphony No.5 4th movement mm.75-86 57

Figure 3.54: Mozart Symphony No.40 4th movement mm. 72-80 59

Figure 3.55: Mozart Symphony No.40 4th movement mm. 81-89 59

vii
Figure 3.56: Mozart Symphony No.40 4th movement mm. 90-98 60

Figure 3.57: Mozart Symphony No.40 4th movement mm.99-105 60

Figure 3.58: Schubert Symphony No.5 4th movement mm.87-97 61

Figure 3.59: Schubert Symphony No.5 4th movement mm.98-108 62

Figure 3.60: Mozart Symphony No.40 4th movement mm.106-111 63

Figure 3.61: Mozart Symphony No.40 4th movement mm.112-117 64

Figure 3.62: Schubert Symphony No.5 4th movement mm.109-120 65

Figure 3.63: Mozart Symphony No.40 4th movement mm.118-124 66

Figure 3.64: Schubert Symphony No.5 4th movement mm.121-130 67

Figure 3.65: Schubert Symphony No.5 4th movement mm.131-142 68

Figure 3.66: Schubert Symphony No.5 4th movement mm.143-154 68

Figure 3.67: Mozart Symphony No.40 4th movement mm.125-132 69

Figure 3.68: Mozart Symphony No.40 4th movement mm.133-141 70

Figure 3.69: Mozart Symphony No.40 4th movement mm.142-149 71

Figure 3.70: Mozart Symphony No.40 4th movement mm.150-156 71

Figure 3.71: Mozart Symphony No.40 4th movement mm.157-163 72

Figure 3.72: Mozart Symphony No.40 4th movement mm.164-190 72

Figure 3.73: Mozart Symphony No.40 4th movement mm.171-177 73

Figure 3.74: Mozart Symphony No.40 4th movement mm.178-187 73

Figure 3.75: Schubert Symphony No.5 4th movement mm.155-164 75

Figure 3.76: Schubert Symphony No.5 4th movement mm.165-175 75

Figure 3.77: Schubert Symphony No.5 4th movement mm.188-199 76

Figure 3.78: Schubert Symphony No.5 4th movement mm.200-210 76

Figure 3.79: Mozart Symphony No.40 4th movement mm.220-225 78

Figure 3.80: Mozart Symphony No.40 4th movement mm.226-231 79

viii
Figure 3.81: Mozart Symphony No.40 4th movement mm.232-237 79

Figure 3.82: Mozart Symphony No.40 4th movement mm.238-244 80

Figure 3.83: Mozart Symphony No.40 4th movement mm.245-252 80

Figure 3.84: Schubert Symphony No.5 4th movement mm.284-299 82

Figure 3.85: Schubert Symphony No.5 4th movement mm.300-318 82

Figure 3.86: Schubert Symphony No.5 4th movement mm.319-330 83

Figure 3.87: Mozart Symphony No.40 4th movement mm.253-260 84

Figure 3.88: Mozart Symphony No.40 4th movement mm.261-268 85

Figure 3.89: Mozart Symphony No.40 4th movement mm.269-276 85

Figure 3.90: Mozart Symphony No.40 4th movement mm.284-289 87

Figure 3.91：Mozart Symphony No.40 4th movement mm.290-295 87

Figure 3.92: Mozart Symphony No.40 4th movement mm.296-302 88

Figure 3.93: Mozart Symphony No.40 4th movement mm.303-308 88

Figure 4.1: Schubert Symphony No.5 1st movement mm.114-122 92

Figure 4.2: Schubert Symphony No.5 1st movement mm.123-131 92

Figure 4.3: Schubert Symphony No.5 1st movement mm.32-42 93

Figure 4.4: Schubert Symphony No.5 1st movement mm.43-52 93

Figure 4.5: Schubert Symphony No.5 1st movement mm.43-52 96

Figure 4.6: Schubert Symphony No.5 3rd movement mm.11-22 96

Figure 4.7: Schubert Symphony No.5 1st movement mm.63-73 97

ix
 Chapter 1: Introduction

Rationale behind
Few years ago, when I heard the Menuetto of Schubert’s Fifth Symphony, a small

section recalled my memory to the Menuetto of Mozart’s Fortieth Symphony. They had

similar harmony, orchestration and melodic shape. I started to wonder whether Schubert

was influenced by Mozart. In the summer of 2013, I started to study AMusTCL of the

Trinity College of London. To fulfill the requirement, I needed to do a thorough study

of Schubert’s Fifth Symphony. To enhance my understandings of this composition, I

had read plenty of reference materials so as to do a deeper analysis. I was fascinated by

an analysis of Scott Foglesong, which coincided with my observation. This reignited

my interest to explore about the relationship of these two pieces.

Statement of the problem

My research question of this thesis is to find out whether Schubert’s Fifth

Symphony is a “copy” of Mozart’s Fortieth Symphony. George Edwards’s article, A

Palimpsest of Mozart in Schubert’s Symphony No.5, gave me an inspiration. The word

“palimpsest” means a rewritten paper. The title suggested that Schubert had written

something that is very similar to Mozart’s work. Edwards had a detailed analysis on the

first movement on both pieces. Although it was known that Schubert usually got

1
inspirations on previous models1, does this mean he copied the entire piece? I would

like to compare the other three movements of both pieces to see their relationship.

Objectives
Through this thesis, I would like to provide a more in-depth investigation in

Mozart’s Fortieth Symphony and Schubert’s Fifth Symphony, so as to prove that

Schubert did not copy Mozart, but instead he was just trying to “do something clever”

with Mozart, as suggested by Edwards.2

Methodology
Information of these two compositions, including their historical backgrounds,

composers’ habits, as well as detailed analysis, will be investigated to check whether

Edwards’ statement is right. The other three movements (second, third and fourth

movements) of both works will be analyzed and compared in various aspects, including

melody, harmony, sections, forms, phrases, orchestrations, dynamics, texture and

typical characteristics. The results will be used to proof my hypothesis.

1
Edwards, “A Palimpsest of Mozart in Schubert’s Symphony No. 5”, 18.
2
Ibid., 38.

2
 Chapter 2: Literature Review

2.1: Schubert’s biography

On 31 January 1797, Franz Peter Schubert was born in the Himmelpfortgrund

suburb of Vienna. He was the twelfth child of Franz Theodor Florian Schubert

(1763-1830), a schoolmaster, and Maria Elisabeth Katharina (1756-1812). 3 When

Schubert was six years old, his father found his musical abilities and began to teach him

violin. Schubert composed some short pieces for their family quartet, two elder brothers

as violinists, father as cellist and himself as violist. He even pointed out his father’s

wrong intonations and rhythm. Soon, his father sent him to Michael Holzer, the

choirmaster of the Parish church at Liechtental for organ, vocal and harmony lessons.4

In 1808, Schubert was recognized as a student at the Stadtkonvikt.5 Before he

arrived at the school, he might never have heard of an orchestra. He became agitated

and joyful after his first listening of school rehearsal and joined the second violin

section. The student musical director, Josef von Spaun, who became his lifelong friend

and benefactor, discovered his musical talent and invited him to be his orchestral

assistant. He supplied Schubert the manuscript papers for composition. Schubert was

described as a shy boy with passion on music but hard to settle in the new environment.

3
McKay, Franz Schubert, 1.
4
Turner and Venezia, Franz Schubert, 10–11.
5
McKay, Franz Schubert, 14.

3
The assistant job provided him opportunity to communicate with the others and learn

more.6 Through the orchestral rehearsals, Schubert acquainted with music of Mozart,

Beethoven and Haydn, which he especially admired. Among all, Mozart’s Symphony

No.40 in G minor was one of his favorites. In 1811, Schubert started his interest to

poems and began his vocal composition. HagarsKlage was his first German Lied.7

On 28 May 1812, Schubert’s mother died. His father needed to manage the entire

school business and required Schubert to be an assistant teacher instead of a composer

in order to support his work. Spaun convinced him to give up his mind that the talented

son would be wasted as a teacher. Later on, Schubert was appointed to have music

theory and composition private lessons with Court Kapellmeister, Anton Salieri.8 In

1813, Schubert kept on composing for scholarship to continue his studies. They

included the string quartet in B flat and in D major, D68 and D74, plenty of male vocal

trios and early Octet in F for winds.9

After Schubert graduated from Stadtkonvikt, he entered the St. Anna College in

November 1813 for ten months.10 He kept on having private lesson with Salieri. In

1814, Schubert started his teaching career in schools.11 On the other hand, one of his

most famous German Lieder, Gretchen am Spinnrade, and Mass in F D105 was

6
Edwards, “A Palimpsest of Mozart in Schubert’s Symphony No. 5,” 30.
7
ibid., 22
8
Turner and Venezia, Franz Schubert, 18–19.
9
McKay, Franz Schubert, 31.
10
Ibid., 35
11
Turner and Venezia, Franz Schubert, 22.

4
revealed to the world.12 In 1815, at the age of 18, he composed the other famous

German Lied, Der Erlkönig13. Since Schubert was tired to do his low paid school job,

he tried to apply for a music post at a training school for teachers. Even he got

reference letter from Salieri, he failed.14Spaun introduced Schubert to acquaint Franz

von Schober who was a poet and began a long friendship. 15 They often called

themselves as “Schobert”.16

In 1816, Schubert had composed more than 100 works including his Fifth

Symphony D485, Mass in C D452, plenty of church music and chamber music.17 In

some of his writings, he claimed he was composing a cantata for Professor Watteroth, a

law teacher in the university who is also a friend of Spaun, for 100 Viennese florins.

That was his first commission.18 In 1818, Schubert was introduced to Count Johann

Karl Esterházy of Galanta by Johann Karl Unger, a law professor at the Theresian

Academy in Vienna. The job was to provide piano and singing lessons for Esterházy’s

two daughters, and musical entertainments for the family and their guests.19Schubert’s

circle of friends was gradually rising year after year. They often have private concert of

Schubert music. These events were known as “Schubertiads”. Being a composer,

12
Ibid., 24-25
13
Ibid., 27
14
Ibid., 30
15
Capell, “Schubert’s Poets (Part 8).”
16
Turner and Venezia, Franz Schubert, 33.
17
McKay, Franz Schubert, 56.
18
Turner and Venezia, Franz Schubert, 31.
19
Winter, Brown, and Sams, “Schubert, Franz”

5
Schubert’s life was not as wealthy as his peers. He often had to ask for his friends’

helping hands on financial support and accommodation.20

Schubert’s health decreased drastically during 1823, when he was diagnosed as

having syphilis. 21 Although being depressed, he still composed positive works.

Wanderer Fantasy in C major D760 for piano was one of his famous compositions.

After few years of fighting, he died in the age of 31 in 19 November 1828. 22

Throughout his life, he has written 9 symphonies, 15 string quartets, over 600 German

lieder, 23 piano sonatas and so on.23

20
Turner and Venezia, Franz Schubert, 34.
21
McKay, Franz Schubert, 164.
22
Turner and Venezia, Franz Schubert, 62.
23
Newbould, Schubert, the Music and the Man, 424–443.

6
 2.2: Schubert’s Symphony No.5

in B-flat major D.485 background

In Classical period, there was no standard rule on instrumentation in symphonies.

In most of the works, strings seemed to be an indispensible section, but the usage of the

wind section was still open to composers’ choice. There might be an omission of flute,

oboe or clarinet or trumpet. The use of timpani was also optional. During the early 19th

century, the instrumentation in symphonies became more standardized. They often

contained double woodwinds, pairs of trumpet and horn, timpani and strings. Ludwig

van Beethoven even added 3 trombones and piccolo in the Finale of his Fifth

Symphony.

Schubert’s Fifth Symphony, however, is scored in a very special instrumentation,

with only 1 flute, 2 oboes, 2 bassoons, 2 horns and strings. The chamber like

instrumentation shows the same practice of Mozart. This symphony, composed in

September of 1816, is always said to be a resemblance of Mozart Symphony No.40.

Schubert showed his admiration towards Mozart in one of his diaries, “O Mozart!

Immortal Mozart! What countless images of a brighter and better world hast thou

stamped on our souls!”24

24
Duncan, Schubert, 95.

7
 Schubert finished the symphony on 3 October, 1816. It was assumed to be

performed by an amateur orchestral society, and the composer himself played the viola

a month after. He did not publish the work during his lifetime. The first public

performance was under the baton of Michael Leitermayer. The concert was held on 17

October, 1841 at the Josefstädter-theater in Vienna. The first score was published by

Eusebius Mandy-czewski and Johannes Brahms asa part of the Critical Complete

Edition / Kritische durchgesehene Gesamtausgabe in 1885.25

There are totally four movements. The first movement marked Allegro in B-flat

major. The second movement marked Andante con moto in E-flat major. The third

movement marked Allegro molto that the Minuet in G minor and the Trio in G major.

The fourth movement marked Allegro Vivace in B-flat major.26

25
Clarke, Schubert Symphony No.5 in Bb major D 485, VII
26
Young, Schubert, 27.

8
 2.3: George Edwards’s Analysis

of the first movement

There are some notable similarities in both expositions of the first movement. In

Mozart’s mm.2-16 and Schubert’s mm. 5-19, both of them contain resemblances of

tempo (Molto Allegro in Mozart, Allegro in Schubert), dynamics (piano, pianissimo),

meter (cut time) and texture (repeated-quavers in the inner voices, strings at the

beginning with the woodwinds join in mm.13)27 [See Figures 2.1 and 2.2].

Figure 2.1: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.20

27
Edwards, “A Palimpsest of Mozart in Schubert’s Symphony No. 5”, 20.

9
Figure 2.2: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.21

Mozart’s mm.16-22 and Schubert’s mm.19-25 show the similar elaborations of the

harmony. They feature the tonicization of dominant by the diminished seventh built

upon its leading-tone. Dialogues also appear between families--The winds against

strings in Mozart while the flute against the first violin in Schubert28 [See Figure 2.3].

28
Ibid., 22.

10
Figure 2.3: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.23

In Mozart’s mm.38-42 and Schubert’s mm.19-23, Schubert uses the same

harmonic progression and bass line simultaneously as Mozart does. This sounds like

Schubert paraphrased Mozart’s work29[See Figure 2.4].

Figure 2.4: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.31

29
Ibid., 30.

11
 In addition to the similarity between the harmonic progression, the melodic figures

in Mozart’s mm.70-72 and Schubert’s mm.3-5 show even a greater sense of

resemblance, both in terms of the melodic contour and the way of how they orchestrate

these passages. Mozart starts with the first violin on the first beat and descends on the

off-beat of the third beat to link to the second half of the secondary theme-group.

Likewise, Schubert starts with the first violin in the second beat to introduce the first

theme30 [See Figure 2.5].

Figure 2.5: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.31

30
Ibid.

12
 Schubert paraphrases two contrasting passages from Mozart’s work into his first

theme. This theme shares a similar harmonic progression in mm.5-14 (I-V6-IV6-I64)

with the transition in mm.28-33 (and also the second theme in mm.71-77) in the fourth

movement of Mozart [See Figures 2.6 and 2.7].

Figure 2.6: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.28

13
Figure 2.7: George Edwards A Palimpsest of Mozart in Schubert’s Symphony No.5 P.29

14
 Chapter 3:

Analysis of the second, third and fourth movements

3.1: Second movement

Exposition Development Recapitulation
Bar 1 20 37 53 74 90 108 123
Section 1st Transition 2nd 1st Transition 2nd theme
theme theme theme
Key Eb Bb Bb Bb Eb Eb Eb
Table 3.1: Mozart’s Symphony No.40 second movement segmentation chart

Part A1 Part B1 Part A2

Bar 1 9 18 24 67 75 84 141
Section Theme Theme Theme Theme B Theme Theme Theme
A1 A2 A1’ A1 A2 A1
Key Eb Eb Eb Cb b Eb Eb Eb
g,
Unstable

Part B2 Part A3
Bar 90 118 128 141
Section Theme B Theme Coda
A1
Key Gb f# Eb Eb
d
Unstable
Table 3.2: Schubert’s Symphony No.5 second movement segmentation chart

Both second movements begin in E-flat major in 6/8 time with an anacrusis.

However, there are plenty of differences between the two movements such as the form,

phrase, texture, orchestration, harmony and typical characteristics.

15
 Mozart’s one is in sonata form. The exposition requires repeating as it does in

the first movement. The development and recapitulation needs to repeat at the end. On

the other hand, Schubert’s one is in ABABA form with a coda. After the first themes,

the two composers apply different methods. In Mozart’s one, the transition begins in

mm.20 and the second theme begins in mm.37 in E-flat major. On the other hand, in

Schubert’s one, Theme B follows Theme A in mm.23.

Compare and Contrast

Theme A of the two works

Both of them contain a repeated Theme A in the first section. In Mozart’s work,

the Theme A refers to its exposition; while in Schubert’s it is the Part A1. The Theme

A1 of Mozart is comprised of two parts, each of four measures long. It is built up in

layers from the low strings to the high strings with the supporting horns [See Figure

3.1]. The theme repeats with the first violin as a counter melody and the woodwinds

embellish in mm.17-18 as an extension [See Figures 3.2 and 3.3].

Figure 3.1: Mozart Symphony No.40 2nd movement mm.1-8

16
 Figure 3.2: Mozart Symphony No.40 2nd movement mm.7-16

Figure 3.3: Mozart Symphony No.40 2nd movement mm.17-19

Schubert, however, adopts a different method. The Theme A is in rounded binary

form. The Theme A1 begins with the warm strings in chorale style to extract the

maximum warmth and richness from the instruments.31 The winds double the melody

and provide rich accompaniment in mm.5-8 [See Figures 3.4 and 3.5]. In the Theme A2

section, it includes a counterpoint between the main melody by the first violins, flute

and first oboe against the countermelody by the second violins, violas and second

bassoon [See Figure 3.6]. In the Theme A1’ section, the main melody by the violins is

an octave higher against the flute and oboes in canon [See Figure 3.7].

31
Foglesong, “Schubert Symphony No.5”, 21

17
Figure 3.4: Schubert Symphony No.5 2nd movement mm.1-4

Figure 3.5: Schubert Symphony No.5 2nd movement mm.5-8

18
Figure 3.6: Schubert Symphony No.5 2nd movement mm.7-13

Figure 3.7: Schubert Symphony No.5 2nd movement mm.14-20

19
Development section from Mozart

Both composers show contrasting characteristics in different sections. In the

development section of Mozart, it contains various secondary dominant and chromatic

harmonies. The melodic figures show the alternation between strings and woodwinds

[See Figure 3.8]. In mm.53-62, Mozart uses a chromatic ascending bass line from note

B-flat to F [See Figure 3.9]. In mm.67, it even shows up with a series of circle of fifth

with many chromatic altered notes, these are often regarded as Mozart’s favorites. The

octave-doubled violins form broken tritones in descending sequence [See Figure 3.10].

Figure 3.8: Mozart Symphony No.40 2nd movement mm.53-60

20
 Figure 3.9: Bass line chart from Mozart Symphony No.40 2nd movement mm.55-62

Figure 3.10: Mozart Symphony No.40 2nd movement mm.67-68

Recapitulation from Mozart

In the transition from the recapitulation of Mozart, the second phrase of the first

theme reappears in mm. 94-96 [See Figure 3.11]. In Mozart’s work, sometimes he

would reuse the materials of previous sections, so as to create a sense of unity, and to

some degrees, a surprise to the audience.

21
 Figure 3.11: Mozart Symphony No.40 2nd movement mm.94-96

Theme B from Schubert

The theme B of Schubert contains numerous typical Schubert characteristics. In

mm.24, it begins with the Neapolitan of the previous section, i.e. an F-flat major triad

(IV in C-flat major, bIIb in E-flat major), and moves to the dominant seventh of C-flat

major in mm.26. After the three-bar preparation, it arrives at the tonic of C-flat major in

perfect cadence, which is the flat six of E-flat major. The second violins and violas

provide simple piano-like accompaniment32 [See Figure 3.12]. In mm.34, it modulates

to B minor, which is the enharmonic equivalent of C-flat minor (which does not

existed), as a parallel modulation. In doing so, Schubert can leave off some of the

unnecessary accidentals while compared to a modulation to C-flat minor, which

supposedly needs to include unwanted double-flats in the key signature [See Figure

3.13].

32
Ibid.,23.

22
Figure 3.12: Schubert Symphony No.5 2nd movement mm.24-28

Figure 3.13: Schubert Symphony No.5 2nd movement mm.34-38

23
Theme A1 in Part A2 from Schubert

Before the second appearance of Theme B, Theme A1 returns to E-flat minor

instead of major in mm.84-89. Such change in key provides an entire different mood

and emotion [See Figure 3.14]. Schubert was known as providing unexpected surprises

to the audience with different harmonies.

Figure 3.14: Schubert Symphony No.5 2nd movement mm.84-89

24
Schubert’s extended section

In Mozart’s work, the movement ends in E-flat major after the recapitulation of the

second theme. On the contrary, Schubert extends the movement with a coda in mm.128

after the Theme A1 in Part A3. It begins with an interrupted cadence to the C-flat major

triad. The movement ends with a warm E-flat major triad by the tutti[See Figure 3.15].

Figure 3.15: Schubert Symphony No.5 2nd movement mm.125-141

25
 3.2: Third movement
Menuetto Trio
Bar 1 15 28 43 61 69 84
Section Theme A1 Theme A2 Theme A1’ Theme B1 Theme B2 Theme B1’
Key g Bb G G G G
Table 3.3: Mozart’s Symphony No.40 third movement segmentation chart

Menuetto Trio
Bar 1 27 57 89 105 121 128
Section Theme A1 Theme A2 Theme A1’ Theme B1 Theme B2 Theme B1’
Key g Bb G G d C G
Table 3.4: Schubert’s Symphony No.5 third movement segmentation chart

Comparisons of both Minuets

Contrast of dynamics

The two composers have very different approaches in handling dynamics. Mozart

requires the entire Menuetto to be performed in forte with determined and darker

manner, except mm.36-42, which needs to be played in piano with delicate and calm

mood [See Figure 3.16]. On the other hand, Schubert decides to provide more dynamic

contrast. The music changes alternatively between loud and soft passages. For example,

the triadic melody in the beginning marks forte in a strong and aggressive manner in

mm.1-4, followed by a soft passage (mm.5-8) occasional use of some accents [See

Figure 3.17]. It moves to the gentle Theme B later in mm.27 [See Figure 3.18]. The

music becomes louder in mm.51 to prepare the reappearance of Theme A[See Figure

3.19].

26
Figure 3.16: Mozart Symphony No.40 3rd movement mm.36-42

Figure 3.17: Schubert Symphony No.5 3rd movement mm.1-8

27
Figure 3.18: Schubert Symphony No.5 3rd movement mm.27-34

Figure 3.19: Schubert Symphony No.5 3rd movement mm.51-56

28
Contrast of orchestrations

The orchestrations of the two Minuets are different. The melody in Mozart’s

Section A1 is assigned to the violins and flute. The other instruments provide simple

accompaniment figures [See Figure 3.20]. Section A2 contains downward melodic

sequences in the flute, oboes, violas, cellos and double basses part, which played the

theme from Section A1 against the counter melody in the violins and the bassoons [See

Figure 3.21]. Section A1 recapitulates in a canonic manner by the flute, first oboe, first

bassoon and first violins against the second oboe, second bassoon and second violins

[See Figures 3.21 and 3.22]. Interestingly, Mozart uses the whole orchestra in the

Minuet except in mm.36-39, in which he omits the strings and horns [See Figure 3.16].

Figure 3.20: Mozart Symphony No.40 3rd movement mm.1-6

29
Figure 3.21: Mozart Symphony No.40 3rd movement mm.15-21

Figure 3.22: Mozart Symphony No.40 3rd movement mm.29-35

30
 Schubert tends to show the contrast of timbre and mood between families and

instruments with dialogues and dynamic changes. The first theme in mm.1-4 from

Section A1 is played by the entire orchestra in octaves unison. The melody in mm.5-8 is

only played by the first violins, while the rest of the strings play the accompaniment

[See Figure 3.17]. Rather than having everyone playing all the time, in Section A2,

Schubert emphasizes more on individual lines. For example, Section A2 begins with a

dialogue between the first violins and the lower strings, while the second violins and

the violas play a simple accompaniment pattern [See Figure 3.18]. The woodwinds are

introduced later, first with the oboe, and then the first violin part is octave doubled by

the flute. Interestingly, Schubert transfers the sustaining line of the lower strings to the

bassoon by a G pedal, so as to prepare the lower string entrance later in mm.39. The

texture gradually gets thicker with the first violins and horns coming in from mm.43.

The first oboe gives gentle answer to the first violins [See Figure 3.23]. The entire

orchestra plays together loudly in mm.51 [See Figure 3.19]. In Section A1’, the melody

is transferred into the lower strings, while other upper strings and the oboe part serve as

an accompaniment in mm. 71. The entire orchestra suddenly explodes aggressively in

mm.75 [See Figure 3.24].

31
Figure 3.23: Schubert Symphony No.5 3rd movement mm.35-46

Figure 3.24: Schubert Symphony No.5 3rd movement mm.69-79

32
Common point: Similar harmonic progression

In Schubert’s work, descending thirds sequence is applied in mm.19-21 [See

Figure 3.25].It contains strong relationships between the tonic and the dominant. It is

similar to Mozart’s one (mm.11-13) [See Figure 3.26].The melodic phrases of both

works are descending chromatically, and the harmonic progressions are formed by

plenty of secondary chords.

Figure 3.25: Schubert Symphony No.5 3rd movement mm.19-22

33
Figure 3.26: Mozart Symphony No.40 3rd movement mm.11-14

Common point: Reuse of the phrases from previous section

The common point of two composers in their Minuets is that they reuse the

phrases from previous section in the later section. Mozart reuses the theme from

Section A1 (mm.1-3) with sequences in Section A2 (mm.15-23) [See Figures 3.20 and

3.21]. Schubert reuses the phrase by the violins in the later part of Section A2

(mm.51-52) and assigns the first violins, flute and first oboe with sequences in Section

A1’ (mm.61-66). The flute and first oboe even double the phrase in dialogues [See

Figures 3.19 and 3.27]. This shows that Schubert is not only influenced by Mozart to

reuse the materials in sequences, he takes one more step to alternates the phrase with

different instruments.

34
Figure 3.27: Schubert Symphony No.5 3rd movement mm.61-66

Scherzo more than a Menuetto from Schubert

Although Schubert states the third movement as a Menuetto, the tempo marked

Allegro molto that suggests a lively and exciting mood. It is rather in the manner of

Scherzo and should be counted in one.

Comparisons of both Trios

Dynamics and textures

The dynamics usage in the Trios of both composers is mostly soft. In Mozart’s trio

he only uses forte occasionally. For instance, mm.52-54 and mm.76-78 are examples of

it [See Figures 3.28, 3.29 and 3.31]. Both of them use homophonic texture.

35
Orchestration

One of the biggest differences between the two compositions is the way of how

they orchestrate their works. Mozart tends to show the contrast of timbre by using the

instruments from different families to play in dialogues. For example, the strings begin

from mm.43-48 and stop, and the woodwinds continue from mm.49-56 [See Figures

3.28 and 3.29]. The low strings alternates with the winds in mm.61-64 [See Figure

3.29]. The horns join the strings in mm.69 [See Figure 3.30]. The only moment that the

full orchestra (except the bassoons) plays together is in mm.83-84 [See Figure 3.31].

Overall, the texture is thin.

Figure 3.28: Mozart Symphony No.40 3rd movement mm.43-53

36
Figure 3.29: Mozart Symphony No.40 3rd movement mm.54-64

Figure 3.30: Mozart Symphony No.40 3rd movement mm.65-74

37
Figure 3.31: Mozart Symphony No.40 3rd movement mm.75-84

In a traditional trio, composers rarely use the whole orchestra. However, Schubert

does not follow the tradition. In his Trio, he has used all the instruments except the

second oboe. In mm.89-96 of Theme B1, the first violins and the first bassoon play the

theme in octave. The simple dance-like accompaniment patterns in the strings provide

moving motion with arpeggios in the second violins and sustained notes in the low

strings [See Figure 3.32]. The theme repeats with the flute and first oboe in mm.97-104.

The bassoons and horns accompany with sustained harmony [See Figures 3.32 and

3.33]. In mm.105-109 of Theme B2, the first violins and first bassoon state the melody

with the answer from flute and first oboe in dialogues [See Figures 3.33 and 3.34]. This

38
trio contains serene orchestration with unruffled mood of simplicity.33 Overall, the

texture is rather thick.

Harmonic Structure

There are several similarities and differences in harmonic structures. Both of them

have parallel major modulation, i.e. from G minor to G major. However, Mozart begins

Theme B2 in the dominant seventh of G major and continues with secondary dominant

from mm.61-68 [See Figures 3.29 and 3.30]. On the other hand, Schubert starts Theme

B2 in mm.105 in the minor dominant key of G major, i.e. D minor [See Figures 3.33

and 3.34]. This is rather surprising as the tradition mostly begins in dominant seventh in

the next Section B. This shows that Schubert often uses surprising keys to provide

attractive moment and break through the traditional rules. It modulates to C major in

mm.111, and Theme B1 recapitulates in tonic in mm.121 [See Figures 3.34 and 3.35].

33
Ibid.,27.

39
Figure 3.32: Schubert Symphony No.5 3rd movement mm.89-97

Figure 3.33: Schubert Symphony No.5 3rd movement mm.98-107

40
Figure 3.34: Schubert Symphony No.5 3rd movement mm.108-117

Figure 3.35: Schubert Symphony No.5 3rd movement mm.118-128

41
 3.4: Fourth movement
Exposition
Bar 1 32 71 101 117
Section 1 theme Transition 2nd theme
st
Closing theme Codetta
Key g g Bb Bb Bb

Development Recapitulation
Bar 125 207 222 247 277 301 308
Section 1st theme Transition 2nd theme Closing theme Codetta
Key Unstable g g g G g
Table 3.5: Mozart’s Symphony No.40 fourth movement segmentation chart

Exposition
Bar 1 47 81 113 127
st
Section 1 theme Transition 1 2nd theme Closing theme Codetta
Key Bb bb F bb F

Development Recapitulation
Bar 155 239 285 323 355 369 396
Section 1st theme Transition 1 2nd theme Closing theme Codetta
Key Unstable Bb bb Bb Eb Bb
Table 3.6: Schubert’s Symphony No.5 fourth movement segmentation chart

Mozart uses sonata form in the fourth movement. The exposition requires

repeating as it does in the first and second movements. The development-recapitulation

needs to repeat at the end as it does in the second movement. Similarly, Schubert’s

fourth movement is in sonata form but with a rondo-like theme.

42
 Comparison of Expositions

First theme in two works

The first theme of Mozart is in four-bar phrase and is divided into two sections. It

is in “repeated” binary form. In the first phrase from mm.1-4 of the first section, the

first two bars begin with the soft Mannheim rocket by the first violins with the soft

strings and bassoons accompaniment. The other instruments then join in and the tutti

suddenly turns loudly with sharp dynamics contrast. In the second phrase from mm.5-8,

it shows up like an answer of the first phrase which does the same method as before

[See Figures 3.36 and 3.37]. The first two phrases repeat directly in mm.9-16. The first

phrase from mm.17-20 of second section begins with the loud tutti octaves unison on

note D with the soft strings answer twice. In the second phrase from mm.21-24, it is

taken from the second phrase of the first section directly [See Figure 3.38]. The first

two phrases repeat directly in mm.25-32 [See Figure 3.39]. The whole first theme is

comprised of great dynamics contrast between the strings and the tutti.

43
Figure 3.36: Mozart Symphony No.40 4th movement mm.1-7

Figure 3.37: Mozart Symphony No.40 4th movement mm.8-15

44
Figure 3.38: Mozart Symphony No.40 4th movement mm.16-24

Figure 3.39: Mozart Symphony No.40 4th movement mm.25-32

45
 Schubert’s first theme is rather contrasting in comparison to Mozart’s one. It

contains five sections in rondo form (ABA’BA’). Mm.1-8 from the first section (A)

contains two four-bar phrases. It begins with the soft first violins on the spirited

rondo-like theme with the light strings accompaniment. Interestingly, mm.1 begins with

a B-flat major chord in first inversion instead of root position. This is used to prevent

the material becoming too overly foursquare.34 Such practice is rare in tradition, and it

shows that Schubert takes one more step to show his creativity. It ends in the perfect

cadence in the secondary dominant key [See Figure 3.39]. In mm.9-16, the second

violins and flute join in the melodic role which the flute and the first violins are an

octave higher. The first phrase is a direct repetition of mm.1-4, and the second phrase

ends in the perfect cadence in the tonic key of B-flat major [See Figure

3.40].Surprisingly, the theme from the second section (B) is developed by the tail of the

rondo-like theme. Such composition technique resembles Mozart’s method, for

example, mm.21-24 in the fourth movement is taken directly from its mm.5-8 [See

Figures 3.36-3.38]. This can reveal the connections and relationships between the

themes. In theme A2, it begins with the violins only, and the flute and first oboe join in

mm.21 in a gentle rocking canonic manner with the soft low strings and bassoons

accompaniment [See Figure 3.41]. It gradually gets louder in mm.26 and the tutti turns

34
Ibid.,28.

46
to forte without canonic dialogues. It is notable that the chromatic descending figures in

mm.28 and 30 from the bassoons and violas are as same as mm.8 [See Figures 3.40 and

3.42]. Schubert not only shows the connections and relationships between the themes,

but also applies the same accompaniment figures throughout the movement. Mm.34-46

is the third section (A’), the fragment of the rondo-like theme recapitulates quietly. It

gradually gets louder in mm.37-38 and the tutti turns to forte with the winds sustaining

long notes and tremolo violins. The low strings extend the first two bar of the

rondo-like theme twice [See Figure 3.43]. The second and third sections require

repetition again. This is similar to the Mozartean method, which the first theme repeats

in a “repeated” binary form, i.e. AABB.

Figure 3.40: Schubert Symphony No.5 4th movement mm.1-9

47
Figure 3.41: Schubert Symphony No.5 4th movement mm.10-21

Figure 3.42: Schubert Symphony No.5 4th movement mm.22-32

48
Figure 3.43: Schubert Symphony No.5 4th movement mm.33-43

Transition in two works

In Mozart’s one, mm.32-70 is the transition. It is divided into seven sections and in

the style of Sturm und Drang35 with strong intensity and emotions. All sections contain

sequential figures with dialogues between instruments and families. Mm.32-36 is the

first section, the violins play in unison with the chordal accompanied figures by the

other instruments. It is a sequential passage [See Figures 3.43 and 3.44].Mm.37-40 is

the second section, it is a repeated two-bar phrase with alternations of higher notes in

the mm.40 [See Figure 3.45]. Mm.41-44 is the third section, the violins plays with

ascending arpeggios with four repeated notes on the second beat, this pattern is

35
Heartz and Brown, “Sturm Und Drang.”

49
repeated four times. The circle of fifths is one of the Mozart’s favorites [See Figure

3.45]. Mm.45-48 is the fourth section, the oboes join with the violins in mm.45 and the

flute comes in an octave higher in mm.46. The sequences are in descending thirds order

[See Figures 3.45 and 3.46]. Mm.49-55 is the fifth section, the violas, cellos and double

basses take the melodic role. The other instruments accompany with chordal figures

[See Figures 3.46 and 3.47]. Such practice is similar to the first section of the transition.

The remarkable feature is that the first section is formed with descending sequence [See

Figures 3.43 and 3.44]. On the other hand, in the fifth section, the melodic instruments

play with the descending sequences while the accompanied instruments play with an

ascending contour. As the contour expands in opposing direction, tension can be

increased easily. This shows that Mozart not only repeats his compositional method but

also does something special on it [See Figures 3.46 and 3.47].Mm.56-64 is the sixth

section, the first and second violins play in octave unisons and alternates in descending

thirds sequential dialogues with the low strings and bassoons in octave unisons. The

other winds accompany with sustain notes [See Figures 3.47 and 3.48]. Mm.65-70 is

the seventh section, the violins play in unison with ascending arpeggios with four

repeated notes on the second beat. Such practice is similar to the third section of the

transition. However, it is alternated with the F major triad and E diminished triad

instead of applying circle of fifths as the third section. The violins play an octave higher

50
in mm.67-68 than mm.65-66. Mm.69-70 is formed by a decisive F major triad which is

ready to modulate to the relative key of G minor, B-flat major, in perfect cadence [See

Figure 3.49].

Figure 3.44: Mozart Symphony No.40 4th movement mm.33-38

Figure 3.45: Mozart Symphony No.40 4th movement mm.39-45

51
Figure 3.46: Mozart Symphony No.40 4th movement mm.46-51

Figure 3.47: Mozart Symphony No.40 4th movement mm. 52-57

52
Figure 3.48: Mozart Symphony No.40 4th movement mm. 58-63

Figure 3.49: Mozart Symphony No.40 4th movement mm. 64-61

53
 Schubert’s transition is from mm.47-80, it is divided into three sections and in

fortissimo. The first section is from mm.47-60, it modulates from B-flat major to B-flat

minor immediately after the first theme. Such attacca minor mode creates contrasting

mood and raise the intensity. This also shows the similar mood against the style of

Sturm und Drang from Mozart. Therefore, resemblance between two works is shown.

Mm.47-50 contains the violins, flute and oboes in octave unisons with ascending

arpeggio. The horns and bassoons play with sustained notes and the low strings play

with agitated tremolos [See Figure 3.50]. In mm.51-54, the violins alternate with

ascending scales in dialogues against the cellos and double basses which play

descending scales [See Figures 3.50 and 3.51]. This method is similar to Mozart’s sixth

transition [See Figures 3.47 and 3.48]. Mozart requires the violins and low strings to

play the descending scales alternatively, while Schubert expands the contour in

opposing direction. Mm.55-58 is formed by C half-diminished chord. The violins play

in syncopations with the accents by flute, oboes and horns. The bassoons and low

strings play in two-bar phrase which the second phrase varied with repeated notes.

Mm.59-60 is a perfect cadence in F major with secondary dominant function [See

Figure 3.51].

54
 The second section begins in mm.61 and ends in mm.75. It modulates to F minor

immediately as an attacca minor mode, which is the same as before. This section is

basically a sequence from the first section, with some of the parts varied--the cellos and

double basses in mm.66 and 68 play ascending instead of descending scales [See Figure

3.52]. This shows that Schubert is not likely to copy all of the elements in the

sequential passages.

Mm.76-80 is the third section. It contains ostinatos in the bass voice, a repeated

pedal note on C by the horns, and agitated chords in the upper melody. Alternating with

the dominant sevenths and F minor triads, this passage ends with a determined C major

triad, which is ready to modulate F major in perfect cadence [See Figure 3.53].Such

practice is similar to Mozart’s one. Mozart alternates the F major triad and E

diminished triad as tonic and leading tone relation while Schubert adopts in tonic and

dominant relation.

55
Figure 3.50: Schubert Symphony No.5 4th movement mm.44-52

Figure 3.51: Schubert Symphony No.5 4th movement mm.53-64

56
Figure 3.52: Schubert Symphony No.5 4th movement mm.65-74

Figure 3.53: Schubert Symphony No.5 4th movement mm.75-86

57
Second theme in two works

The second theme of Mozart’s one is in B-flat major and is basically divided into

two sections. The first section is introduced by the calm first violins with the soft

second violins and violas accompaniment [See Figures 3.53 and 3.54]. The phrase

repeats in mm.79, it includes descending half-step chromatics in mm.82 without

interrupting the beauty and smoothness of the lyrical melody. The first oboe and the

first bassoon are used as a bridge to link the first section to the second in mm.85-86.

The first oboe takes the melodic role with several rhythmic variations of the theme. The

first bassoon, celli and double basses accompany calmly. The violins echo with

descending scales after the descending figure in the first oboe in mm.89 [See Figure

3.55].In traditional composing practice, the audience may expect a repetition of the

melody as it does before. However, Mozart adopts another approach. He turns it into a

smooth harmonic progression by the tutti in mm.95-100 [See Figures 3.56 and 3.57].

The texture grows broader than the previous phrases. The chromatic descending idea is

applied in nearly all voices in this section. Such surprise shows the creativity of Mozart.

58
 Figure 3.54: Mozart Symphony No.40 4th movement mm. 72-80

Figure 3.55: Mozart Symphony No.40 4th movement mm. 81-89

59
Figure 3.56: Mozart Symphony No.40 4th movement mm. 90-98

Figure 3.57: Mozart Symphony No.40 4th movement mm.99-105

60
 Similar to Mozart, Schubert’s second theme is also introduced by the first violins.

This F major theme is lyrical and with spirit. It includes ascending scales to connect to

the next phrase and rhythmic variations. The second violins provide simple

accompaniment [See Figure 3.53]. In mm.89, the oboes join with countermelodies and

the first bassoon doubles the low strings accompaniment with varied note value. In

mm.97, the flute doubles the melody and the first violins play an octave lower. The first

horn provides simple off-beat accompaniment [See Figures 3.58 and 3.59]. Overall, the

texture of the second theme grows thicker gradually, but the soft dynamics still provide

a peaceful emotion.

Figure 3.58: Schubert Symphony No.5 4th movement mm.87-97

61
Figure 3.59: Schubert Symphony No.5 4th movement mm.98-108

Closing theme in two works

The closing theme of Mozart is from mm.101-117. It is divided into two sections

with similar patterns. The first section is from mm.101-109. The unison violins come in

suddenly and loudly after the soft and peaceful second theme. The musical figures and

orchestration are similar to the first section of the transition [See Figure 3.57]. The

2-bar phrase by the tutti repeats twice and moves to the second section with a perfect

cadence [See Figures 3.59 and 3.60]. The second section is from mm.109-117. The

winds dismiss from mm.109-113 and the strings play softly in an octave lower (except

the second violins even plays two octaves lower) than before. The violins replace the

repeated note figures by the smooth turn figures. The first violins play an octave higher

in mm.111 than mm.109, it returns to an octave lower in mm.113. The second violins

62
only join the first violin in mm.111. The winds rejoin in mm.114 and the tutti turns loud

immediately [See Figures 3.60 and 3.61]. This shows that even for the same music

materials, Mozart has applied various orchestration techniques to make it more

interesting, for example, by transposing the thematic idea and adding the winds to

articulate the harmonic rhythm. He also uses the similar musical figures and

orchestration from previous sections to show the connection of the piece.

Figure 3.60: Mozart Symphony No.40 4th movement mm.106-111

63
Figure 3.61: Mozart Symphony No.40 4th movement mm.112-117

Schubert’s closing theme is from mm.113-126, it modulates to B-flat minor which

is a mixed subdominant of F major. Attacca minor mode is adopted again. This has

entirely moved to another unexpected harmonic world, because B-flat minor does not

belong to F major [See Figure 3.62]. In tradition, the closing theme usually shares the

same key with the second theme.36 Both of woodwinds and violins take the important

melodic role.

36
Burnette, "Web Study Guides: MUS 312 Form & Analysis : G. The Binary Principle: Sonata-Allegro
Form"

64
Figure 3.62: Schubert Symphony No.5 4th movement mm.109-120

Codetta in two works

The codetta of Mozart’s is from mm.117-124. It contains 3 almost direct repeated

sequences (except the syncopation by the second violins and violas in mm.117). The

low strings alternate their ascending scales with the broken chords by the first violins.

This shows that Mozart not only requires the instruments take turn in dialogues but also

requires alternation with different figures. Second violins and violas play with repeated

quavers and the winds provide simple chordal accompaniment. Mm.123-124 end with

determined perfect cadence in B-flat major [See Figures 3.61 and 3.63].

65
Figure 3.63: Mozart Symphony No.40 4th movement mm.118-124

The codetta of Schubert is in mm.127-154. It is divided into three sections. The

first section is from mm.127 to 136. In mm.127-130, the soft first violins play with

delightful triplets, accompanied by the soft second violins and violas’ descending

quaver scales. In mm.131-136, the strings play with loud repeated triplets and the winds

play with loud chordal accompaniment [See Figures 3.64 and 3.65]. The second section

is from mm.137 to 146. It uses the same materials as the first section, except that

Schubert adds the soft flute and oboes to support the second violins and violas. The

dynamics of mm.141-146 is raised to fortissimo instead of forte as in the first section

[See Figures 3.65 and 3.66]. The third section is from mm.147 to 154. In mm.147-150,

the tonic triad, F major triad, alternates with the dominant seventh chords. The first and

second violins play the triplet figures in octave unison. This figure is the same as in

66
mm.127, and it last for four bars. The other instruments provide simple quaver

accompaniment. When the music starts to get louder in mm.149-150, the low strings

play with triplets and the winds play with dotted rhythm figures. This is used to

increase the tension for the crescendo. Mm.151-153 is formed by a decisive F major

triad played by the tutti [See Figure 3.66]. Schubert not only writes quasi-sequential

passages, but also varies the rhythmic figures and orchestration in order to show the

differences.

Figure 3.64: Schubert Symphony No.5 4th movement mm.121-130

67
Figure 3.65: Schubert Symphony No.5 4th movement mm.131-142

Figure 3.66 Schubert Symphony No.5 4th movement mm.143-154

68
 Comparison of Development sections

In Mozart’s one, the specific features are the chromatics, fugal writings and

orchestrations. In mm.125-132, the strings and woodwinds play the varied Mannheim

rocket theme with all the twelve notes except the pitch-G, i.e. the tonic [See Figure

3.67]. This entire phrase sounds unpredictable because Classical period compositions

rarely use plenty of unresolved chromatics.

Figure 3.67: Mozart Symphony No.40 4th movement mm.125-132

The key in the entire development section is unstable. It modulates to variety of

keys including foreign keys from G minor, such as F minor (flat-7) in mm.147 and

C-sharp minor (sharp-4) in mm.175 [See Figures 3.69 and 3.73]. Fugal writing is

applied in mm. 147-174. The strings take the main role and the winds accompany with

sustain notes. [See Figures 3.69-3.72] The orchestration in the development is notable.

69
For example, in mm.135-146, the first violins alternate with the woodwinds and the

other strings accompany softly to provide a steady mood [See Figures 3.68 and 3.69].

The woodwinds alternate with the low strings in mm.175-182, the octave violins

accompany with repeated quavers to increase the tension [See Figures 3.73 and 3.74].

This is very useful to show the contrast of tone color of different families. In mm.

161-168, the orchestration is more noteworthy. The strings introduce the fugal subject

from the upper strings to the lower strings (first violins to second violins, then violas to

the low strings) [See Figures 3.71 and 3.72].This can show the layers clearly, as well as

displaying the contrasting tone color within the same family.

Figure 3.68: Mozart Symphony No.40 4th movement mm.133-141

70
Figure 3.69: Mozart Symphony No.40 4th movement mm.142-149

Figure 3.70: Mozart Symphony No.40 4th movement mm.150-156

71
Figure 3.71: Mozart Symphony No.40 4th movement mm.157-163

Figure 3.72: Mozart Symphony No.40 4th movement mm.164-190

72
Figure 3.73: Mozart Symphony No.40 4th movement mm.171-177

Figure 3.74: Mozart Symphony No.40 4th movement mm.178-187

73
 In Schubert’s one, it is mainly developed from the first theme. The four-quaver

rhythmic figure (♪♪♪♪) is the basic pattern. This pattern usually starts with an

anacrusis and ends with a crotchet-quaver rhythmic figure (♪|♪♪♪♪|♩♪).37 It is

formed by ascending stepwise motion, either diatonically (i.e. mm.155, 161, 169) or

chromatically (i.e. mm.186, 190, 194). The entire development section is filled up with

sequences. In the sequential passage in the crotchet-quaver rhythmic figure (♪I♪♪

♪♪I♩♪) from mm.155-172, the first sequence starts from note F in mm.155,

followed by the second sequence from note G in mm.161 and the third sequence from

note E-flat in mm.169 [See Figures 3.75 and 3.76]. In mm.189-197, it shows the

descending third sequence. The first sequence starts from note E-flat in mm.189,

followed by the second sequence from note C in mm.193 and the third sequence from

note A-flat in mm.195 [See Figure 3.77]. This descending thirds sequence idea is often

seen in Mozart’s works. Interestingly, Schubert takes one more step to show the

contrast of tone color in the descending thirds sequence. The low strings alternate the

sequential figures with the first bassoon and the first oboe. In mm.208-210, there is an

augmented sixth chord (Italian sixth) that is extended from the subdominant in first

inversion [See Figure 3.78]. This could also be regarded as an influence by Mozart.38

37
Foglesong, “Schubert Symphony No.5”, 31.
38
Ibid., 32.

74
Figure 3.75: Schubert Symphony No.5 4th movement mm.155-164

Figure 3.76: Schubert Symphony No.5 4th movement mm.165-175

75
Figure 3.77: Schubert Symphony No.5 4th movement mm.188-199

Figure 3.78: Schubert Symphony No.5 4th movement mm.200-210

76
 Comparison of Recapitulations

First theme in two works

In both first themes of the recapitulations, the two composers share the similar

orchestrations and musical elements in their expositions and recapitulations. However,

the structure of the first theme in the recapitulation is different from the exposition. In

Mozart’s one, the exposition repeats in binary form, i.e. AABB. Contrastingly, the

recapitulation does not repeat, i.e. AB.

In Schubert’s one, the exposition repeats in rondo form, i.e.: ABA’BA’. On the

other hand, the recapitulation does not repeat, i.e.: ABA’. This shows that Schubert not

only takes Mozart as reference, he changes the structure of the first theme from rondo

form into rounded binary form.

Transitions in two works

In both transitions of the recapitulation, the composers share the similar

orchestrations and most of the musical elements as in the expositions. However, they

both change the structure. In Mozart’s one, the transition of the exposition includes

seven sections. He omits the second, third and sixth sections in the recapitulation.

Interestingly, he adds two bars in the first section (mm.222-228) of the recapitulation,

omits a bar in the second section (mm.229-234), and composes a new third section

(mm.235-240) [See Figures 3.79-3.82]. In this brand new third section, the first four

77
bars share the similar descending thirds sequential passages as the second section by the

violins in octave unisons. The latter two bars are the extension in descending third

sequence. The other noteworthy feature is that mm.238-240 shares the similar musical

elements and orchestrations as the fourth section (mm.45-48) in the exposition [See

Figures 3.45 and 3.46]. Such similarities can show the relationship between different

sections. In the last section (mm.241-246), the musical elements and orchestrations are

the same as the exposition, except that it has a different modulation--it needs to move to

the second theme in G minor instead of B-flat major smoothly [See Figures 3.82 and

3.83].

Figure 3.79: Mozart Symphony No.40 4th movement mm.220-225

78
Figure 3.80: Mozart Symphony No.40 4th movement mm.226-231

Figure 3.81: Mozart Symphony No.40 4th movement mm.232-237

79
Figure 3.82: Mozart Symphony No.40 4th movement mm.238-244

Figure 3.83: Mozart Symphony No.40 4th movement mm.245-252

80
 In Schubert’s one, the transition (mm.285-322) is in attacca minor mode from

B-flat major to B-flat minor, and the accompaniment figures are the agitated string

tremolos and sustained notes from the winds. However, all the dialogued scales and

syncopations (which are originally used in the exposition) are omitted. Instead,

Schubert replaces them with a new figuration. For instance, the violins, flute and oboes

alternate the ascending arpeggio in octave unisons with the low strings and bassoons in

mm.285-300. This can show the contrast of tone color by different families [See Figure

3.84]. In mm.301-316, the violins and flute extend the sequence to increase the

intensity of emotion [See Figure 3.85]. In mm.317-322, it continues with the ostinatos

in the bass voice, a repeated pedal note on F by the horns, and agitated chords in the

upper melody again. Alternating with the dominant sevenths and B-flat minor triads,

this passage ends with a determined F major triad, which then serves as the dominant

chord to the new key, i.e. B-flat major [See Figure 3.86].

81
Figure 3.84: Schubert Symphony No.5 4th movement mm.284-299

Figure 3.85: Schubert Symphony No.5 4th movement mm.300-318

82
Figure 3.86: Schubert Symphony No.5 4th movement mm.319-330

Second theme in Mozart

The orchestration is similar to the exposition. However, plenty of melodic figures

are varied. For instance, the melodic figures from mm.251-252 are replaced by an

arched phrase in dotted rhythm instead of an ascending phrase in broken figures [See

Figure 3.83]. The linking figure in mm.254 turns from ascending steps in crotchets to

chromatic ascending scales in quavers. In mm.256-258, melody begins with the

syncopation and follows by a phrase with the note G on the top and chromatic

descending figures at the bottom, while the exposition’s one is an arched chromatic

phrase [See Figure 3.87]. The linking phrase in mm.261-262 is replaced by an

ascending chromatic phrase instead of diatonic phrase [See Figure 3.88]. The second

section of the second theme is from mm.263-276. It has a smooth harmonic progression

83
with chromatics in mm.263-266. The later bars continue with the chromatic melody by

the woodwinds and other instrumental accompaniment [See Figure 3.88]. This

approach is different from before. In the exposition, Mozart begins with the diatonic

melodic phrase, and the chromatic harmonic progression section follows. On the

contrary, Mozart switches two sections in the recapitulation. In the recapitulation, he

begins with the chromatic harmonic progression section, and the diatonic melodic

phrase follows. There is a great usage of chromatic harmony in this section. This can

show the creativity of Mozart. The harmonies also varied, for example, the diatonic

harmony is replaced by the chromatic descending harmony in mm.255-257 [See Figure

3.89].

Figure 3.87: Mozart Symphony No.40 4th movement mm.253-260

84
Figure 3.88: Mozart Symphony No.40 4th movement mm.261-268

Figure 3.89: Mozart Symphony No.40 4th movement mm.269-276

85
Closing theme and codetta in Mozart

Mozart uses similar harmonies and orchestration in the closing theme. Despite of

this, he has made some alterations. For example, he alternates the roles between

instruments. Originally, the second violins play the melodic figures with the first violins

and the violas play the syncopated accompaniment. He exchanges their roles in

mm.286-289. The musical figures are also changed [See Figure 3.90]. In mm.291-292,

the woodwinds’ figures change from minims to crotchets. The first and seconds

alternate the melodic figures in turns instead of staying in unison. There is an extension

of the closing theme in mm.293-300. Mozart also often uses this practice. It contains

agitated ascending scales by the low strings and woodwinds, excited tremolos by the

violins and sustained notes by the horns and woodwinds [See Figures 3.91 and 3.92]. In

the codetta, the characteristics continue as it does in the exposition and the movement

ends in G minor [See Figure 3.93].

86
Figure 3.90: Mozart Symphony No.40 4th movement mm.284-289

Figure 3.91: Mozart Symphony No.40 4th movement mm.290-295

87
Figure 3.92: Mozart Symphony No.40 4th movement mm.296-302

Figure 3.93: Mozart Symphony No.40 4th movement mm.303-308

88
Second theme, closing theme and codetta in Schubert

In Schubert’s one, the orchestration, melodic figures and harmonies are almost as

same as the exposition. The second theme modulates back to the tonic, B-flat major.

Attacca minor mode is adopted again in the closing theme. It is in E-flat minor, the

mixed subdominant of B-flat major. At last, the codetta ends the movement in B-flat

major. This approach shows that Schubert decides to show the similar relationships

between the exposition and recapitulation.

89
 Chapter 4: Results and Discussion
After analyzing and investigating both works, it is interesting to find out that

Schubert’s Fifth Symphony has turned to be highly influenced by Mozart’s Fortieth

Symphony. The typical characteristics of both composers and resemblances of both

compositions are shown. Classical period elements and the evidences of Schubert being

a songwriter could be found in Schubert’s work. Typical characteristics of both

composers, as well as the characteristics of the first movement of Schubert will be

discussed.

Typical characteristics of both composers

In Mozart’s work, it reveals Mozart’s representative harmonic treatments. He is

fond of using the descending thirds sequences and circle of fifth in the sequences. This

shows that he is keen on keeping the music with similar patterns and connections.

Chromaticism in his work can be easily found. The remarkable moment is in the

beginning of the development in the fourth movement. He uses all notes in the

chromatic scale except the tonic G. [See Figure 3.67]. In the second theme of his fourth

movement, he even writes a passage with chromatic harmonic progression only [See

Figures 3.56, 3.57 and 3.88]. His composition technique is fascinating. In the closing

theme of the recapitulation, he usually extends it with new ideas to create differences

against the exposition [See Figures 3.91and 3.92]. Materials and phrases from the

90
previous sections are often reused in new section to create connection within the music

[See Figure 3.21]. His work reveals the classical period characteristics--the Mannheim

rocket and Sturm und Drang in the fourth movement are the typical examples [See

Figures 3.36, 3.43-3.49].

On the other hand, Schubert’s harmonic treatments are known of creating surprise

to the audience. He is keen on using interrupted cadence. He often turns the submediant

chord as a flat six chord in the major tonality (e.g. D-flat major triad in B-flat major

section). In mm.118-133 of the first movement, he uses three interrupted cadence in a

row. It is unlikely to find so many interrupted cadences in a certain passages from other

works [See Figures 4.1 and 4.2].In mm.11-4-117 of the first movement, a decorated

perfect cadence is applied by the diminished seventh chord on a tonic pedal to the tonic

chord. Such usages of cadences are remarkable [See Figure 4.1]. To succeed the sudden

mood change, attacca minor mode between two linked sections (e.g.: B-flat major to

B-flat major) [See Figure 3.50], parallel modulation with enharmonic equivalent (e.g.:

C-flat major to B minor) [See Figures 3.12 and 3.13] and parallel minor modulation on

the same theme (e.g.: E-flat major to E-flat minor) are used [See Figures 3.4 and 3.14].

In repeated phrase, Schubert sometimes changes the chord into other quality, even only

a single note (e.g.: minor triad to half-diminished triad) [See Figure 4.3]. His favorite

ninth chord can be found easily in his work [See Figure 4.4]. Interestingly, Schubert

91
starts the fourth movement with the tonic in first inversion instead of root position. This

is rather an unconventional harmonic treatment [See Figure 3.40].

Figure 4.1: Schubert Symphony No.5 1st movement mm.114-122

Figure 4.2: Schubert Symphony No.5 1st movement mm.123-131

92
Figure 4.3: Schubert Symphony No.5 1st movement mm.32-42

Figure 4.4: Schubert Symphony No.5 1st movement mm.43-52

93
Resemblances of Mozart’s characteristics in Schubert’s work

In Schubert’s work, it is obvious to find out the resemblances of Mozart’s

characteristics. Schubert is keen on using similar harmonic progression by using

descending thirds sequence [See Figure 3.77], and reusing the phrases from previous

sections [See Figures 3.19 and 3.27]. He steps further by alternating the phrase with

different instruments to create the contrast of tone color [See Figure 3.77]. Schubert

sometimes introduces a new theme based on the previous theme [See Figure 3.41]. He

uses chromatic harmonies to enrich the harmonic color, for example, the augmented

sixth chord, which is an extension of the subdominant chord in first inversion [See

Figure 3.78]. The Mozartean descending bass line can also be seen in the first

movement of Schubert, in which Schubert employs the same bass line but with a new

harmonic progression [See Figures 2.6 and 2.7]. He sometimes alternates in tonic and

dominant relation while Mozart alternates in tonic and leading tone relation. This

reveals the similar relationship of the tonic and other technical chords [See Figures 3.49

and 3.53]. The imitation of Sturm und Drang from Mozart can be found in the

transitions in the fourth movement of Schubert [See Figures 3.50-3.53]. He does not

repeat in the recapitulation in the fourth movement as Mozart does. However, Schubert

even changes the structure of the first theme from rondo form (Exposition) into rounded

binary form (Recapitulation).

94
Classical period elements in Schubert’s work

Apart from the Mozartean resemblances, Classical period elements can be found

in Schubert’s work. In the recapitulation in the first movement, the first theme appears

in the subdominant key, E-flat major instead of the tonic key, B-flat major [See Figure

4.5]. This is not used often in classical works. The typical signature cadential-64 of

Classical works can also be found39 [See Figure 3.4].In the third movement, the G

minor triadic melody in mm.11 shifts to note E-flat, which is the submediant of G

minor (subdominant of B-flat major). This is used to prepare a harmonic progression

towards the B-flat major in the later bars [See Figure 4.6]. The triadic melody and the

relationship of the tonic and submediant show hints of Beethovenian influence.40

39
Ibid., 22.
40
Ibid., 25.

95
Figure 4.5: Schubert Symphony No.5 1st movement mm.43-52

Figure 4.6: Schubert Symphony No.5 3rd movement mm.11-22

96
Evidences of a song writer in Schubert’s work

It is known that Schubert is the king of German Lied. He had composed over six

hundreds songs. This symphony also reveals his compositional techniques of song

writing. There are three main techniques, 1) equal breath distribution, i.e. balanced

phrase. For instance, the second theme in the first movement is in two four-bar phrases

[See Figure 4.7]; 2) tuneful melody, so that it is easy to hum and remember; and 3)

dramatic mood change, so that the story could be developed. Schubert succeeds to do

so by using harmonic surprise [Please refer to P.91], as well as the big contrast of

orchestration and dynamics [Please refer to P. 26 and 31].

Figure 4.7: Schubert Symphony No.5 1st movement mm.63-73

97
 Chapter 5: Conclusion
In music history, it is normal to find similarities in different works, because

composers often take reference to other composer’s work. Composers may even

arrange works that they find inspiring. Orchestral arrangement based on piano

composition is one of the most common ways. Maurice Ravel’s orchestration of Modest

Mussorgsky’s Pictures at an Exhibition is one of the most remarkable examples.

Paraphrase on a particular theme is also usual, for example, Franz Liszt’s Paraphrase

on Handel’s Sarabande from Almira. In quoting existing music, composers may also

change the original style drastically. Tortoises from Saint-Saëns’ The Carnival of the

Animals is an example that modifies Jacques Offenbach’s Orpheus in the Underworld

Overture in a totally contrasting manner. In the original, the mood is very lively in

Can-can dancing style. On the other hand, Saint-Saëns pulls back the tempo to depict

the slow movement of a tortoise. This contrasting style is seems to be humorous and

sarcastic.

The reason for why a composer would take reference from other compositions is

usually because of the admiration of the values of the work. The values can be based on

the styles, moods, characteristics, musical language and central idea. When we

encounter two similar works, instead of criticizing the composer’s lack of creativity (by

98
doing so called plagiarisms41), we should investigate the reasons behind the similarity.

In June 2006, there was a controversial incident about musical plagiarism. ‘The

Holst Foundation’ and music publishers ‘J. Curwen & Sons’ sued the Hollywood film

music composer, Hans Zimmer. They condemned Zimmer plagiarized the music from

Mars, the Bringer of War from The Planets by Gustav Holst directly into the Battle

from the Gladiator Soundtrack. Zimmer defended himself against the opponents by

claiming that he admired the masterpiece in terms of its musical language.42Mars, the

Bringer of War from The Planets was used to depict the cruelty and horror of war. The

music is rhythmic and diabolic with intense harsh dissonances.43 In the movie, The

Gladiator, it includes a battle scene between the Roman army and Germanic tribes.

Zimmer was requested to compose a background music for the battle. He found that the

Mars, the Bringer of War from The Planets contained a similar musical language to his

own idea. With this inspiring masterpiece, Zimmer imitated several musical elements

into the Battle from the Gladiator Soundtrack as an admiration to Holst. This example

shows admiring the values of the inspired work are the reason by taking references

from other compositions instead of plagiarizing.

41
“Dictionary” Plagiarism means an actor instance of using or closely imitating the language and
thoughts of another author without authorization and the representation of that author's work as one's
own, as by not crediting the original author.
42
Beek, “Gladiator Vs Mars - Zimmer Is Sued.”
43
Matthews, “Holst, Gustav.”

99
 According to all my results and references, I would rather agree Edwards’s

statement of “Schubert wanted us to think was that he had ‘done something clever’ with

Mozart” than assuming Schubert copied Mozart’s Fortieth Symphony in his Fifth

Symphony. What Schubert did is that he admired Mozart and the value of his Fortieth

Symphony, and then he took Mozart’s compositional techniques as references with

further interpretations and creativities. I wish this thesis can be a reference for all the

scholars and students to prevent misunderstanding that Schubert plagiarized the

masterpiece.

100
 Bibliography
Beek, Michael. “News - Music from the Movies: Gladiator Vs Mars - Zimmer Is Sued,”

Accessed on December 30, 2007.

http://web.archive.org/web/20071230030535/http://www.musicfromthemovies.

com/article.asp?ID=695.

Brahms, Johannes (ed.). Franz Schubert’s Werke, Serie I: Symphonien, No.5. Leipzig:

Breitkopf & Härtel, 1884.

Brown, Maurice J. E. Schubert: A Critical Biography. Da Capo Press Music Reprint

Series. New York: Da Capo Press, 1977.

———. The New Grove Schubert. London: Macmillan, 1982.

Burnette, Sonny. "Web Study Guide: MUS 312 Form & Analysis G. The Binary

Principle: Sonata-Allegro Form". Accessed December 12, 2012.

http://spider.georgetowncollege.edu/music/burnette/Mus312/312g.htm.

Cameron, Kenneth M. America on Film: Hollywood and American History. New York:

Continuum, 1997.

Capell, Richard. “Schubert’s Poets (Part 8): Schobert and Vogl.”

Schubertartsongs.wordpress.com. Accessed April 24, 2015.

https://schubertartsongs.wordpress.com/2014/10/27/schuberts-poets-part-8-scho

bert-and-vogl/.

101
Dictionary. "Dictionary.com" http://dictionary.reference.com/browse/plagiarism.

Duncan, Edmondstoune. Schubert. Master Musicians. London: New York: J.M. Dent &

Co.; E.P. Dutton & Co, 1905.

Edwards, George. “A Palimpsest of Mozart in Schubert’s Symphony No. 5.” Current

Musicology, no. 62 (Spring 1997): 18–39.

Gibbs, Christopher H., ed. The Cambridge Companion to Schubert. Cambridge:

Cambridge University Press, 1997.

http://universitypublishingonline.org/ref/id/companions/CBO9781139002172.

Heartz, Daniel, and Bruce Alan Brown. “Sturm Und Drang.” Grove Music Online, n.d.

Hilmar, Ernst, Otto Brusatti, and Franz Schubert. Franz Schubert: Ausstellung d.

Wiener Stadt- u. Landesbibliothek zum 150. Todestag des Komponisten:

Katalog. Wien: Universal Edition, 1978.

Landon, Howard Chandler Robbins (ed.) Neue Mozart-Ausgabe, Serie IV, Werkgruppe

11,Sinfonien, Band 9. Kassel:Bärenreiter-Verlag, 1957. Plate BA 4509.

Matthews, Colin. “Holst, Gustav.” Grove Music Online, n.d.

McKay, Elizabeth Norman. Franz Schubert: A Biography. Oxford: New York:

Clarendon Press; Oxford University Press, 1996.

Newbould, Brian, ed. Schubert Studies. Aldershot, Hants, England; Brookfield, Vt:

Ashgate, 1998.

102
———. Schubert, the Music and the Man. Berkeley: University of California Press,

1997.

Reed, John. Schubert. Master Musicians Series. London: J.M. Dent, 1987.

Schubert, Franz, and Otto Erich Deutsch. Franz Schubert’s Letters and Other Writings.

Westport, Conn: Greenwood Press, 1970.

Turner, Barrie Carson, and Mike Venezia. Franz Schubert. The World’s Greatest

Composers. Watford, Herts, United Kingdom: Exley, 1995.

Winter, Robert, Maurice J.E. Brown, and Eric Sams. “Schubert, Franz.” Grove Music

Online, n.d.

Young, John Bell. Schubert: A Survey of His Symphonic, Piano, and Chamber Music.

Unlocking the Masters Series, no. 19. New York: Amadeus Press, 2009.

103