Review: Chicago Symphony Orchestra folk music concert – Chicago Tribune
So, where does Schubert’s Symphony No. 5 (1816), the four-movement work holding down Thursday’s program, fit into this folk schema? It doesn’t — and that’s precisely what makes it so fascinating. In writing this symphony, Schubert didn’t bask in the Austrian dance forms by then popping up in his solo and chamber works. Instead, the 19-year-old composer had Mozart on the mind: The Symphony No. 5 echoes the older master’s gestures and even shares the same idiosyncratic instrumentation as his Symphony No. 40 (one flute, two oboes, two bassoons, two horns, and strings). Not coincidentally, around the time he wrote this symphony, the already prolific Schubert began composing for pay for the first time in his life. One can sense not just Schubert’s idolatry of the late Mozart but his own keen self-awareness.