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Franz Schubert's Symphony No. 8 in B minor, D.759 (sometimes renumbered as Symphony No. 7, in accordance with the revised Deutsch catalogue and the Neue Schubert-Ausgabe), commonly known as the "Unfinished Symphony" ((ドイツ語:Unvollendete)), is a work that Schubert started in 1822 but left with only two movements—though Schubert lived for another six years. A scherzo, nearly completed in piano score but with only two pages orchestrated, also survives. Many have theorized that Schubert may have sketched a finale that instead became the big B minor entr'acte from his incidental music to ''Rosamunde'', but all evidence for this is circumstantial.〔Brian Newbould, ''Schubert and the Symphony: A New Perspective'', p. 189 and pp. 294-6〕 One possible reason for Schubert's leaving the symphony incomplete is the predominance of the same meter (triple meter). The first movement is in 3/4, the second in 3/8 and the third (an incomplete scherzo) also in 3/4. Three consecutive movements in basically the same meter rarely occur in symphonies, sonatas or chamber works of the most important Viennese composers. Schubert's eighth symphony is sometimes called the first Romantic symphony due to its emphasis on expressive melody, vivid harmony and creative combinations of orchestral tone color despite the architecturally imposing Classical structures of its two completed movements highlighted by the dramatically climactic development section of the first movement based solely on its quietly sinister opening theme. To this day, musicologists still disagree as to why Schubert failed to complete the symphony. Some have speculated that he stopped work in the middle of the scherzo in the fall of 1822 because he associated it with his initial outbreak of syphilis—or that he was distracted by the inspiration for his ''Wanderer Fantasy'' for solo piano, which occupied his time and energy immediately afterward. It could have been a combination of both factors. : \relative c == Early history == In 1823, the Graz Music Society gave Schubert an honorary diploma. He felt obliged to dedicate a symphony to them in return, and sent his friend Anselm Hüttenbrenner, a leading member of the Society, an orchestral score he had written in 1822 consisting of the two completed movements of the ''Unfinished'' plus at least the first two pages of the start of a scherzo. This much is known. What may never be known, is how much of the symphony Schubert actually wrote, and how much of what he did write he gave to Hüttenbrenner. The following exists: * The first two movements, complete in full score * The first two pages of a scherzo in full score The rest of the scherzo (except for the missing second strain of the trio) exists in a separate manuscript in short score (not sent to Hüttenbrenner, but found among Schubert's copious manuscripts after his death and carefully preserved by his devoted schoolteacher brother Ferdinand), but nothing of any fourth movement.〔Brian Newbould, ''Schubert and the Symphony: A New Perspective'', pp.180-181〕 A fourth movement finale in the home key (B minor) would have been the norm for any symphony written at that time, but there is no direct evidence that Schubert ever started work on it. It has, however, been surmised that the most extended Entr'acte from ''Rosamunde'' (also in B minor, in the same style of the first movement and with the same instrumentation as the symphony) was indeed that fourth movement, which Schubert recycled by inserting it into his ''Rosamunde'' incidental music composed in early 1823 just after the ''Wanderer Fantasy''. The Schubert scholar Brian Newbould, who harmonized, orchestrated and conjecturally completed the piano sketch of the scherzo, believed this to be true; but not all scholars agree. Pages appear to have been torn out after the beginning of the scherzo in the full score sent to Hüttenbrenner, in any event. That Hüttenbrenner neither had the work performed, nor even let the society know he had the manuscript is curious and has spawned various theories. Was he given an incomplete score by Schubert and was waiting for the rest before saying anything? If so, he waited in vain throughout the six remaining years of Schubert's life. After Schubert's premature death in 1828 (of typhus as a complication of syphilis), why didn't Hüttenbrenner then make the existence of the manuscript known? Do the torn pages suggest he had somehow damaged the piece and managed to lose, or even inadvertently destroy, the last two movements?〔Grove's Dictionary of Music and Musicians, 5th ed., 1954; Anselm Hüttenbrenner article〕 Was guilt therefore the reason he kept silent about the work's existence for 37 years after Schubert died? Could personality factors like introvertedness or jealousy have been at play here? Old age and approaching death seem to have influenced Hüttenbrenner to reveal the work to an important and gracious visitor at long last (in 1865, when he was 76 and had only three more years to live). This was the conductor Johann von Herbeck, who premiered the extant two movements on 17 December 1865 in Vienna, adding the brilliantly busy but expressively lightweight perpetual-motion last movement of Schubert's 3rd Symphony in D major, as an inadequate finale, expressively quite incompatible with the monumental first two movements of the ''Unfinished''. The performance was nevertheless received with great enthusiasm by the audience. The score of those two movements was not published before 1867. The ''Unfinished'' Symphony has been called No. 7 (recently, for example, in the New Schubert Edition) instead of No. 8 as it usually is, since the other work sometimes referred to as Schubert's ''7th'' (in E major, completed by Felix Weingartner) was also left incomplete but in a different way, with at least fragments of all four of its movements in Schubert's hand. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Symphony No. 8 (Schubert)」の詳細全文を読む スポンサード リンク
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