Death and the Maiden, completed unfinished

As the king of art songs, Schubert naturally used melodies in art songs regularly in instrumental music. However, this somewhat ingenious way, this marriage of vocal music and instrumental music, basically occurred in his mid-term creation around the age of 25; and in the last few years of his life, his understanding of instrumental music has reached a new level, and his efforts to get rid of the vocalization of instrumental music and strengthen instrumentality and drama have been running through his late creations around the age of 30.

The "Death and maiden" quartet is a classic example of Schubert's vocal and instrumental marriage, and the melody of the art song "Death and the Maiden" is used as a variation theme in the second movement slow plate, which is the usual way for Schubert to marry vocal instruments. The genius of Schubert is that this marriage is not a simple repetition and adaptation of vocal melodies, but catalyzes a whole new realm, especially in one of the greatest works of classical music, this genius is played to the extreme.

The limit of true genius can only be life, and in that famous unfinished symphony, Schubert opened a new musical world with a new sound that even Beethoven did not touch. Here, instead, a completed unfinished symphony is played, and after the usual two movements, Schubert's third draft is rearranged and orchestrated, while the fourth movement uses his "Rosamond" overture. At least in terms of tonality, this exploitation is acceptable, but musically we can only face a major challenge in terms of auditory habits. However, from another point of view, it is possible to imagine some possible state of unfinished unfinished through this experiment, although this imagination can only be imagined. Unfinished is unfinished, and it is never possible or necessary to complete.