Symphony No. 9 “ The Great”

Profoundly impressed by Beethoven’s Symphony No. 9, which premiered the previous year, Schubert aspired to compose a work of similar grandeur. Unfortunately, Schubert never witnessed a performance of his final symphony, as the Society of Friends of Music in Vienna deemed it too long and too complex to program. It remained forgotten for a decade until Robert Schumann rediscovered the manuscript while visiting the composer’s brother. Schumann passed it on to Mendelssohn, who conducted an abridged version in Leipzig. Following the performance, Schumann published an enthusiastic article in the Neue Zeitschrift für Musik, where he famously praised the symphony’s “heavenly length.” The work’s majesty, abundance of musical ideas, and rich orchestration earned it the nickname Die Große (“The Great”).

The first movement begins with a slow introduction: a noble and warm theme announced by the horn and taken up by the woodwinds, which serves as the foundation for the entire movement. A grand crescendo leads into the sonata-form Allegro, structured around two contrasting ideas—the first highly energetic, the second more nostalgic, and in a minor key. These themes undergo extensive harmonic and tonal development. At the end, a faster passage reintroduces the initial motif, resounding in its full splendour.

The second movement, Andante con moto, takes on the character of a march. Schumann highlighted the deeply touching voice with which Schubert speaks to the audience. The theme, first introduced by the oboe, gradually expands until it reaches the orchestra’s full power, followed by a second, more lyrical and enveloping idea. A distant call from the horns signals the return of the main theme, now accompanied by intricate countermelodies. A surprising conclusion, incorporating both main themes, brings this highly emotional movement to a close.

The third movement, a masterfully written Scherzo, is robust and exuberant, drawing the audience into its lively rhythm. The Trio at the centre amplifies the charming dance motif, taking the form of a Ländler—a traditional Austrian folk dance that was an early form of the waltz.

The symphony’s grand finale is striking, frenetic and epic. Pulsating with energy, the orchestra seems to be driven by an unstoppable force. The movement teems with themes developed with remarkable ingenuity, including a reference to Beethoven’s “Ode to Joy,” a nod to the composer’s idol. As the music ventures into unexpected tonalities, an overwhelming sense of joy propels the movement toward a triumphant conclusion. With this masterpiece, Schubert bids farewell to the symphonic genre while ushering in a new era of composition—one that would later be embraced by another giant, Anton Bruckner.