Tempo fluctuations relative to thematic material presented in the first movement of Schubert's 'Unfinished' symphony (Austria, Franz Schubert)

Franz Schubert's Symphony no. 8 in B Minor (“Unfinished”), composed in 1822, can be considered one of the most important orchestral pieces of the nineteenth century. It can be seen as a significant turning point in orchestral style very much at the beginning of the romantic era. It represents a considerable departure from the classic tradition with respect to formal design and thematic contrast. As a result, it lends itself quite well to a performance practice involving tempo modification to delineate or highlight structural and formal elements. A close examination of the first movement tempos in a sampling of recordings of Schubert's “Unfinished” symphony reveals a tradition of tempo modification relative to the presentation of thematic material. As a matter of fact, in most of the recordings examined in this study, three distinct tempi can be identified within the first fifty-two measures of the piece.; When conductors and performers are asked about certain liberties taken in performance, such as tempo alterations that are not indicated in the score, they frequently answer that they are following traditional performance practice. Consequently, it is pertinent to question why this performance tradition exists, and whether the tradition of tempo modification is warranted. In order to answer these questions, an examination of performance tradition through recordings is necessary. A formal analysis of the piece and an understanding of the composition's place in history are also germane to the present study of tempo modification. Of specific interest is the consistency with which conductors deviate from and return to specific tempi.; This study involves an examination of tempos relative to thematic material. The exposition of the first movement of Schubert's “Unfinished” Symphony can be viewed as having a short introductory theme, a primary theme, and a secondary theme. From a sampling of twenty-six recordings this writer has identified the tempo of each of these areas as well as those of two other points in the development section, which also traditionally involve tempo modification. Furthermore, the tempo of each returning thematic presentation in the recapitulation and the coda has been identified.