ABSTRACT
Schubert was aware that the publishers' preference was not for large-scale instrumental works, and once Probst had accepted the Trio the composer pressed for the speediest possible production' and insisted that "the cuts indicated in the last movement"' were to be most scrupulously observed'. Among Schubert's instrumental music as a whole, D 929 is the work in which the composer most explicitly and extensively developed the relationship of movements within the cycle to encompass the return of material from a previous movement in the finale. Although the device is a relative rarity in Schubert's works, it can be seen as an enhanced, more overt form of the many subtler interrelationships with which he habitually linked the movements of an instrumental work. Schubert's instrumental themes often unfold freely in song like fashion; he showed also a propensity for large-scale periodic construction along the Classical thematic lines demonstrated in Heinrich Christoph Koch, Versuch einer Anleitung zur Composition selected parts Trans.
