Franz Schubert - Symphony No. 1 (1813)

Franz Peter Schubert (31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. The Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8, D. 759 (Unfinished Symphony), the three last piano sonatas, D. 958-960, and his song cycles Die schöne Müllerin and Winterreise are some of his most important works.

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Symphony No. 1 in D major, D. 82 (1813)

1. Adagio - Allegro vivace (0:00)
2. Andante (11:07)
3. Allegro (17:46)
4. Allegro vivace (21:56)

The Hanover Band

Description by Blair Johnston [-]
Franz Schubert was 16 years old when, on October 18, 1813, he put the final touches on his first complete symphony, the Symphony No. 1 in D major, D. 82. An impressively polished product, it doubtlessly benefitted from the young composer's two earlier, abortive efforts in the genre (also in D major) and the handful of symphonic overtures he wrote in 1811 and 1812. Like the rest of Schubert's pre-1820 symphonies, the Symphony No. 1 was not published until the late nineteenth century, when it was included in the original complete works edition. Schubert did, however, have the luxury of hearing it played during his lifetime; the obliging orchestra was possibly that of the seminary school from which the composer had recently disenrolled, or one of the ad-hoc ensembles put together in the house of Viennese music enthusiast Otto Hatwig.

The Symphony No. 1 is by far the finest piece of Schubert's to date. Though it dates from the post-Beethoven era, the Symphony No. 1 proudly displays Schubert's eighteenth century roots, established through his studies with Antonio Salieri (competitor of Mozart and admirer of Haydn). The grandiose Adagio introduction to the first movement and the Mozartian zip of that same movement's Allegro vivace main theme are unmistakably Classical in nature; as with many of Schubert's earliest works, there are countless superficial melodic nods to Beethoven, but the general manner of the work shows that, beyond such similarities of contour and inflection, Schubert yet had little access to the musical operations that lay at the heart of the master's symphonies.