Symphony No. 6 in C, D. 589 (Little C Major) Cover Image

Symphony No. 6 in C, D. 589 (Little C Major): Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

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Symphony No. 6 in C, D. 589 (Little C Major) Cover Image
Symphony No. 6 in C, D. 589 (Little C Major): Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

Symphony No. 6 in C, D. 589 (Little C Major): Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

By Franz Schubert, ed./arr. by Johannes Brahms

Item: 36-A200001
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Symphony No. 6 in C, D. 589 (Little C Major): Full Orchestra, Ensemble Works, Conductor Score & Parts (EDWIN F KALMUS)

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Symphony No. 6 in C major, D. 589 ("Little C Major") was composed in 1817-1818 by Franz Schubert (1797-1828) during a remarkably productive early period in Vienna, when the young composer was absorbing the influences of Haydn, Mozart, Beethoven, and the fashionable Italian style of Rossini. The nickname "Little C Major" was applied later to distinguish the work from Schubert's monumental Symphony No. 9 in the same key, the "Great C Major." Bright, energetic, and melodically abundant, the symphony reveals his growing confidence in orchestral writing. Although completed in 1818, the work was not publicly premiered until December 14. 1828, shortly after the composer's death, in Vienna under the direction of Johann Baptist Schmiedel. Historically, the symphony stands at the crossroads between Classical elegance and early Romantic warmth. Symphony No. 6 remains a beloved work in the orchestral repertoire, highlighting Schubert's evolution toward his later symphonic masterpieces. Instrumentation: 2.2.2.2 - 2.2.0.0: Timp: Str (9.8.7.6.5 in set) This reprint of the Johannes Brahms edition also includes transposed parts for the clarinets, horns, and trumpets.

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Additional Details
Series: Kalmus Orchestra Library
ISBN10: 8-904201-32-2
ISBN13: 979-8-904201-32-6
UPC: 604634066823
SKU: 36-A200001
Instrumentation: 2.2.2.2 - 2.2.0.0: Timp: Str (9.8.7.6.5 in set)

More about this title

About the Composer: Franz Schubert

Franz Schubert (1797-1828) was a Viennese composer who died at just 31 years old, yet left behind an astonishing catalog of over 600 works. His early symphonies, written while still in his teens and twenties, show him absorbing the Classical masters while developing the lyrical, harmonic inventiveness that would define his mature style. Symphony No. 6 belongs to this formative period, a moment when Schubert was gaining orchestral confidence and beginning to stretch beyond the constraints of pure Classicism.

As a composer, Schubert was prolific by necessity and temperament; he seemed to write constantly, trying out new forms and textures. His symphonies bridge two eras in a way that makes them invaluable for student musicians and seasoned ensembles alike. They demand clean orchestral balance and singing lines, yet reward players with melodies that stick in the mind long after rehearsal ends.

Why we love this

Schubert's orchestration here feels intimate despite the full ensemble, making every section matter without overwhelming young players. The work sits at a perfect pedagogical sweet spot: substantial enough to challenge a serious youth or college orchestra, yet accessible enough that well-prepared high school groups can deliver a genuinely satisfying performance.

What to expect

Sunlit and spirited, with the kind of melodic generosity that makes Schubert instantly recognizable. The music moves with Classical grace but carries an underlying warmth and harmonic color that hints at the Romantic sensibility just beyond the horizon.

Who it's for

Orchestra and concert band directors with intermediate to advanced ensembles who want to program a Schubert work that feels both historically grounded and musically rewarding. The transposed parts make it accessible for standard instrumentation without compromise.

How to get the most out of it

  • Pay close attention to the first clarinet line in the opening theme; it carries the melodic weight alongside the violins, and clarity in the woodwinds will make the tutti passages land with real brightness.
  • Shape each phrase with a singing approach to phrasing, even in fast passages. Schubert's melodies deserve the same legit o and care you would bring to a vocal work.
  • Balance the inner voices, particularly the violas and cellos. They support the harmonic architecture throughout, and neglecting them flattens the texture.
  • Treat the timpani as a structural anchor rather than a special effect. The roll figures are purposeful and should be clearly heard without dominating.

How to use it

Consider pairing this with Schubert's Overture in D (a lighter companion piece) and a Brahms work to frame Schubert's influence on his successors. It works beautifully as a centerpiece for a concert focused on the Classical to Romantic transition, or as a standalone showcase of ensemble refinement and sectional independence.

Skills your students will build

  • Balancing woodwind and string textures in Classical orchestration
  • Sustaining long melodic lines across multiple phrases without losing shape
  • Coordinating rhythmic precision across mixed meter and syncopation in accompaniment figures
  • Ensemble listening to inner voices and inner string parts
  • Intonation control in sustained harmonic passages and chord transitions

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