The Symphony No. 5 in B flat major, D.485, written in 1816 by Franz Schubert is a work in four movements:
Scored for one flute, two oboes, and two bassoons, along with two horns in B♭ and E♭ and strings, the instrumentation is light as clarinets, trumpets and timpani are not part of the instrumentation
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Schubert opens his Fifth Symphony in B♭ major with a great sense of forward motion and builds musical intensity throughout bars 1 to 117 (the Exposition). This is achieved largely through the composer’s approach to rhythm, melody and texture. The first movement commences with five stark minim-length chords (I vi IV V I) played by the woodwinds in a chordal, vertical texture. The woodwind’s outline the simple metre during the first few bars and pave the way for the following semiquaver anacrusis governed by the first violins.
The first theme is presented as a variant of the opening chords which outlined the tonality. The first violins play a consonant (d m s s s) melodic idea, arpeggiated in nature. The rhythm (timka ti ti ti) and the intervallic structure of this theme are to return numerous times throughout the section and underpin the movement’s complex harmonic texture. The first theme is confined to about an octave’s range and is played by the first violins with generally legato articulations; however, accents are included at climax points. The melodic contour is step-wise and smooth. Beneath the melody is a driving, energised rhythmic quality created by the consistent ‘Allegro’ tempo and a driving semiquaver momentum in the second violins and violas. The upper instruments are presented more prominently in the foreground while the horns and lower strings remain in the background. Woodwinds are utilised as soloists and accompanists within Theme I.
When the first theme is repeated, a counter-melody of descending character is heard in the flute. This descant has freer semi-quaver motion, placed against the militaristic rhythms in the accompaniment. Of interest is the (timka ti ti ti) rhythmic pattern embedded within a canonic structure between the upper and lower strings. The lower strings accent the (timka) rhythm on beat three of the bar which installs an agitated rhythmic sense. The result is a largely homophonic texture with some call and response.
The second theme offers smoother articulations and greater step-wise motion. The melody is sounded at a lower dynamic level and is passed around the orchestra in the true classical conversational-style in order to seek a warm, yet fragile tone colour. The (timka) motive continues at this point, but is less declamatory, adding to the contrasting fluidity of the section. The fragility of the second theme is complemented by a transparent texture via the omission of lower orchestral instruments and a slightly slower tempo.
Schubert’s first movement culminates with a dramatic orchestral tutti. To create a constant interplay between anticipation and urgency, the melodic contour becomes increasingly disjoined within a wider range. The melody ascends with heavily accented (timka) rhythms and is complemented by a harsh, aggressive tone colour. In anticipation of the final cadence in a thick vertical orchestral tutti, the melody ascends through chromatic movement, mirrored by rhythmic diminution in the accompaniment. Whilst the rhythmic diminution adds to a chaotic texture, the nature of the homophonic writing is exhibited in the final three block chords at the cadence, bringing the Exposition of Movement I to a close.
The first movement is a slightly unusual sonata form since the recapitulation begins, as in the first movement of Mozart’s sonata facile (and Schubert's 'Trout' Quintet), in the subdominant, not in the main key of the piece as is more usual.
The slow movement opens with a theme in two repeated stanzas, slightly reminiscent perhaps of the A♭ refrain of the slow movement of Mozart’s 39th symphony. Without pause there is a modulation into C♭ that is very characteristic of Schubert, even at age 19. The return to the main theme is straight, passing through G minor on the way; there is a repetition of the distant modulation afterwards, though to G♭ this time and with a more immediate return.
The menuetto has the chromaticism though not the polyphony of the menuetto of Mozart’s 40th symphony. The progression used mid-way through the movement to modulate is borrowed almost directly from the 40th — using the same approach (a gradual layering of instruments) to a dominant 7th chord. (It might be interesting to compare the Schubert to other minor‐mode symphonic minuets of the time, however.) The trio is quiet throughout, and only gradually accumulates instruments, beginning with only bassoon and strings, and with a subtle suggestion of a pastoral mood over held lower string notes.
The finale is the shortest of the four movements.
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