Symphony No. 3 in D major, D 200

Franz Schubert has composed nine symphonies. There is no problem in the numbering of the first six of them, but as for the others - there has always been confusion and doubt about their number and order. "The Unfinished" one is not actually the only one that is unfinished - many of Schubert's works in fact seem unfinished simply because parts of them were moved or lost in the commotion caused by his early death at the age of 31. None of the composer's symphonies were published or performed publicly during his short life. The first five symphonies were composed between his 16^th and 19^th year. They may have been played by an amateur orchestra at the school where Schubert studied and then taught. Symphony No. 3 in D major, D 200 was written between May 24^th and July 19^th 1815, a few months after the composer turned 18. Like the other early symphonies (the six ones written before The Unfinished) it did not see the light of day before its composer's death. It was published many years later, in the first complete edition of Schubert's works in 1884, when it became the subject of widespread attention. The score is for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, timpani and strings. The duration of the work is approximately 21-23 minutes. The symphony contains four movements: Adagio maestoso - Allegro con brio ; Allegretto ; Menuetto. Vivace; Presto vivace. It begins with an extensive introduction resembling a French overture in two parts: the first (slow and dramatic) and the second (more lyrical). The introduction leads to the Allegro con brio, in which the clarinet impresses with its charm and playfulness against a backdrop of syncopations in the strings that develop from pianissimo in the style of chamber music to the more expansive realm of symphonic music. This is an unusually dramatic movement written in sonata form. According to a number of scholars, Schubert was largely influenced by Rossini, whose music was quite popular at the time in that particular work. This is particularly evident in the structure, which is reminiscent of an overture. The symphony also shows the influence that Joseph Haydn had on the young Schubert - most notably in the opening, where 'sustained octaves', complemented by timpani, precede gradually changing harmonies which, rather like the late Haydn, move into a sombre D minor. These are followed by the second movement, a delightful Allegretto in triplet form, full of grace and humour. The melody that unfolds has the character of a peasant dance and its rhythms extend to the second theme. The third movement is a playful Menuetto Vivace, which, with its accented scherzo-like outbursts and popular flavour, contrasts with the trio, written in the spirit of an exquisite ländler. The concluding Presto vivace finale is in the rhythm of the tarantella, it features a bold harmonic development and a richness of dynamic contrast. This movement is written in sonata form with a freer conception. Some musicologists (such as Mosco Carner) cite the strong resemblance to Rossini's music in terms of rhythm, dynamics and harmonic relationships between the movements.