Dozens of works by Schubert from 1816 on echo Beethoven's Seventh Symphony. Many examples are mentioned in the article. Special reference is made to the allusions to the Allegretto of the symphony. Schubert seems to associate the music with death. The main focus of the article is upon the harmonies in the trio and especially upon Schubert's appropriation of the eight-six chord on the dominant which is given such emphasis in the trio. This chord is created as a series of thirds descending over a dominant pedal. Schubert's allusions to this passage are noted and are called "unconscious reminiscences." Schubert's characteristic tendency toward interchangeability of mode is evident in these reminiscences. Schubert adopts what had been a commonplace harmony and invests it with a literary meaning. Traditional analysis is ill-equipped to identify what is significant in Romantic harmony.

Works: Schubert: Wanderers Nachtlied, D. 489 (143), Der Geistentanz, D. 494 (143), Der Tod und das Mädchen, D. 531 (143), Gesang der Geister über den Wasser, D. 538 (143), Thirteen Variations for Piano Solo, D. 576 (144), Schwanengesang, D. 744 (144), Die Liebe hat gelogen, D. 751 (144), Du liebst mich nicht, D. 756 (144), Entr'acte from Rosamunde, D. 797 (144), Wanderer Fantasy, D. 760 (144), Death and the Maiden Quartet, D. 810 (144), Quartet in A Minor, D. 804 (144), Symphony in C Major (144), Piano Sonata in C Minor, D. 958 (145), Die Götter Griechenlands, D, 677 (145), Fantaise-Sonata in G, op. 78 for piano solo, D. 894 (145), Ländler in Ab, D. 790 (149).

Index Classifications: 1800s

Contributed by: David C. Birchler