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Schubert simply indicates, “etc. etc.” and immediately
moves on to the sequel, the doleful Trio in the
parallel key of G sharp minor (in fact A flat minor).
Fortunately, we have a model for the return modulation
which was lacking at the end of the first section;
in the sixth Moment Musical (Opus 94, D
780), which is also in A flat, Schubert needed the
same modulation at the end. i have taken this example
as a model for my reconstruction, requiring
just 15 bars to complete this movement.
in accordance with classical tradition, the
fourth movement is in the same key as the first,
a “se-rene” C major, although more animated.
Despite the indication “Rondo”, it is, like the first
move-ment, cast in sonata form, but it presents
one special formal feature: the main and secondary
themes are conceived as a kind of miniature
rondo. in the first Rondo we have a Beethovenian
reminiscence, recalling the last movement of the
Sonata in C minor Opus 2/iii and of the Ode to
Joy from the Ninth Symphony, whose opening
motif is obstinately repeated or rather shifted. 5
All this is achieved with great finesse and spirit,
with harmonies that are always new and surprising,
leading to E and B major. The delicate colours
which dominate the atmosphere of the first
theme are interrupted gaily by the second group
theme which is dance-like and rustic in character.
This group, in the conventional dominant key of
G major – also embarks on various tonal “excur-
5 This is not perhaps mere coincidence: in the finale of the great
Symphony in C major, which was also composed, according to
the most recent research, in 1825 (1826?), the development is
also haunted by a fragment of the Ode to Joy theme.
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sions”, notably to B flat major (in the architectonic
thinking of Schubert, the absence of B flat
major from the first group is quite conspicuous).
After a triumphant conclusion to the second thematic
group, the gentle and lyrical epilogue which
is also derived from the second theme closes the
exposition with a timid and fearful question mark
(phrygian cadence).
The development begins with a wonderful
floating theme in A minor, which looks forward
to Mendelssohn. Although the beginning is derived
from the main theme, its effect is quite new,
because of the simple fact of its having a broader
sweep with longer phrases. And there, with the
arrival of some suspense, in the key of A major, the
score stops. it is as frustrating as an unfinished
detective story. And we find ourselves again confronting
our original question: why did Schubert
leave such a promising movement unfinished?
We will never know; but another possible answer
might be that perhaps the themes of this finale
seem too banal in relation to the profundity
of the first movement’s content. This would not be
surprising for someone as self-critical as Schubert.
The themes introduced up to this point are certainly
not banal but it is a fact that their strength
of expression and their melodic content does not
attain the level of those of the earlier movements.
But perhaps that it just what was needed? For
the overall plan of the work, it would have been
quite wrong to repeat more or less the contents
of the first movement in the finale. in the classical
conception the last movement should, on the
contrary, represent a release of tension, passing