Symphony No. 10 (Schubert)

[1] The music of the symphony appears to some extent exploratory and contains unusual elements, notably the hybrid form of the third movement and the highly contrapuntal nature of much of the material.

[2] The manuscript contains about 30 instrumental indications, confirming that the intended orchestra was similar in size to the eighth and ninth symphonies, with a trio of trombones.

[3] Actually, many sketches of Schubert's finished works lack the recapitulation (like his last piano sonatas), due to it being mostly a partially transposed repetition of the exposition.

[3] Andante in B minor, 38 The second movement, whose lyricism is reminiscent of the composer's Winterreise, as well as foreshadowing Mahler's Kindertotenlieder, is also laid out in sonata form.

Also, a haunting (in Newbould's words) F♯ major melody at the end of the second subject group of the exposition does not reappear later in the movement; it had been added as an afterthought in another page, apparently after discarding the coda.

After writing a few measures, Schubert left it aside, instead filling the page with counterpoint exercises testing the compatibility of the elements, in order to give the original opening a logical continuation.

Subsequently, he reharmonized parts of it to fit his idea of Schubert's late style, and gave more development to contrapuntal entries only indicated in the manuscript.

[2] In this aspect, Bartholomée's edition is debatable as the fragment seems to have been conceived by Schubert in a three-movement form, with the third movement combining elements of a Scherzo and a Rondo.

Franz Schubert in 1827 (attributed to Anton Depauly )
Beginning of the first movement in Schubert's manuscript. In the exposition of this sonata form movement, the composer crossed out the first subject group and the transition, and wrote a revised version in a separate page. [ 3 ] To avoid confusions, it was labeled Anfang ("beginning").
As an afterthought, Schubert added an F ♯ major theme at the end of the exposition of the second movement, written on a separate page. [ 3 ] To avoid confusions, the passage was labeled zum Andante ("for the andante"). The first five measures are already present in the original redaction of the movement. A #-like sign similar to the one on the left was written on the spot of the andante where the fragment was meant to be interspersed.
Last 4 measures of the third movement, featuring the motif that opened it (notice the end barline). While being made up of several unordered sections, in Newbould's opinion, the movement is complete. [ 3 ]