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Schubert accomplishes it with smoothness, the effort otherwise exhausts him to the verge of dullness (as in the slow movement of the otherwise great A minor Quartet). Hence, in his most inspired works the transition is accomplished by an abrupt coup de théâtre; and of all such coups, no doubt the crudest is that in the Unfinished Symphony. Very well then; here is a new thing in the history of the symphony, not more new, not more simple than the new things which turned up in each of Beethoven's

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