Not so much can be said for the recapitu-
lation of themes. It is the weakest point in
the movement. The clarinet and oboe solo
above undulating violins is particularly drawn
out — wearisomely so. It seems almost as if
Schubert did not know how to reach the A
which is to usher in his second theme. At
least, he goes for it by a roundabout route —
and that at the very moment where a short cut
is most desirable, and would certainly have
been taken by Beethoven. The second theme,
too, for all its beauty, seems a bit diffuse the
second time, almost literally repeated, note for
note, even to the measure of silence. A short
but impressive coda brings to an end what
must be considered, despite all qualifications,
one of the finest example of symphonic music
that we owe to the romantic composers.
