ABSTRACT
The fame of Schubert started with the Lieder and the music for four hands. It began essentially, therefore, with those of his works that were performed either privately or for a very small and semi-private set of listeners. The prestige of Schubert as one of the supreme classical composers is oddly unaffected by the lack of success in so many genres and the clearly mixed success of others. Along with Mozart, the influence of Mozart's pupil Hummel probably had greater weight with Schubert than Beethoven. Schubert's dependence on Mozartean tradition, however, is revealed by the sudden appearance, at the end of this pendulum movement between D minor and B flat major, of the dominant of B flat, followed by 12 bars of a pedal point on that conventional harmony. The old-fashioned view of Schubert as a composer midway between the Classical tradition and Romantic innovations is, therefore, basically correct.
