ABSTRACT
The biographical considerations represent some of the main documented traces of Schubert's opportunities to form an attachment to Mozart's music. Musicologists in recent times have experienced discomfort in general with notions of influence', thereby questioning the kinds of musical criticism that were endemic in earlier writings. The work is not merely a reversion to his earlier style, nor simply an expression of uncontaminated eighteenth-century musical language. And both Mozart's movements and Schubert's D 568-i create a distinct impression of drama from the beginning of their transitions, with their abrupt plunge into the submediant minor and tonic minor respectively. It was suggested earlier that in certain instances, a turn of phrase or indeed a longer passage in Schubert's instrumental works may seem to belong to a cluster of examples using markedly comparable ideas, occurring in not only the instrumental but also the vocal works of Mozart.
