ever, was thefirstto make such systematic and artistic use of
the effect. For a beautiful modern example see the Spanish
folk-dance by Granados,e.g.,
[Music]]
The Impromptu in A-flat major, one of several equally fine ones,
is notable for the wealth of its iridescent modulations and for
the note of genuine pathos and passion in the middle portion in
the minor mode. Schubert might well say that his most inspired
music came from his sorrows.
TheUnfinished Symphonyrequires less comment and elucida-
tion than perhaps any other symphonic composition. The two
movements are in definite Sonata-form—the first, strict, the sec-
ond, with modifications; but the quality of the themes is quite
different from that to which we have been accustomed in classi-
cal treatment. Instead of the terse, characteristic motive which,
often at first uncompromisingly bare, impresses us as its la-
tent possibilities are revealed, we have a series of lyric, periodic
melodies which make their instant appeal. In Schubert every-
thing sings; thus in the first part of the Exposition of the Al-
legro we havethreedistinct melodies: the introductory phrase,
the accompaniment figure which has a melodic line of its own,
and the first theme proper. In any consideration of this work
from a pianoforte version we must always remember how much
the beauty and eloquence of the themes depend upon the solo
instruments to which they are assigned. For Schubert was one
of the first, as well as one of the greatest, of “Colorists.” By
the use of this pictorial term in music we mean that the tone-
quality of certain instruments—the mellow, far-echoing effect of
the horn, the tang of the oboe, the passionate warmth of the
clarinet[183]—appeals to our sense of hearing in the same way
in which beautiful colors—the green grass, the blue sky, the hues
of a sunset—delight our sight. A striking example of Schubert’s
genius in utilizing tone-color to suit structural needs is found
in the transition beginning at measure 38. This is a single tone
on the horn (with a modulatory ending) announcedforteand
then allowed to die away,i.e.,sf[decrescendo symbol]. So pow-
erful is the horn in evoking a spirit of suspense and revery that
this tone introduces the beautiful, swaying second theme more
impressively than a whole series of routine modulations. The
Development speaks for itself. Though there is little polyphonic
treatment, it holds our interest by reason of the harmonic va-