The manuscript is full of alterations. As a rule Schubert made few changes or corrections in his score. In this symphony, alterations are found at the very beginning. The subject of the introduction and that of the _allegro_ were materially changed; the tempo of the opening movement was altered from _allegro vivace_ to _allegro ma non troppo_. Only the _finale_ seems to have satisfied him as originally conceived, and this _finale_ is written as though at headlong speed.
The symphony[44] is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, strings. There is a story that Schubert was afraid he had made too free use of trombones and asked advice of Franz Lachner.
The second theme of the first movement has a decidedly Slav-Hungarian character, and this character colors other portions of the symphony both in melody and general mood. The rhythm of the _scherzo_ theme had been used by Schubert as early as 1814 in his Quartet in B flat. It may also be remarked that the _scherzo_ is not based on the old minuet form, and that there is more thematic development than was customary in such movements at that period.
There is a curious tradition--a foolish invention is perhaps the better phrase--that the _finale_ illustrates the story of Phaëton and his justly celebrated experience as driver of Apollo's chariot. Others find in the _finale_ a reminiscence of the terrible approach of the Statue towards the supper table of Don Giovanni.
(Born at Zwickau, Saxony, June 8, 1810; died at Endenich, near Bonn, July 29, 1856)
It has been urged against Schumann that his symphonies were thought for the pianoforte and then orchestrated crudely, as by an amateur. This, however, is not the fatal objection. He had his own orchestral speech. Good, bad, or indifferent, it was his own. He could not have otherwise expressed himself through the orchestral instruments. His speech is to be accepted or rejected as the hearer is impressed chiefly by ideas, or by the manner of expression.
A more serious objection is this: the genius of Schumann was purely lyrical, although occasionally there is the impressive expression of a wild or melancholy mood, as in the chords of unearthly beauty soon after the beginning of the overture to _Manfred_. Whether the music be symphonic, chamber, a pianoforte piece or a song, the beauty, the expressive force lies in the lyric passages. When Schumann endeavored to build a musical monument, to quote Vincent d'Indy's phrase, he failed; for he had not architectonic imagination or skill.