There is few analytical literature of the first movement of Schubert's grand symphony in C major, D. 944, 'Great' (1825 - 26, completed in 1828), especially approached by the recent analytical methodology, the 'New Formenlehre' of Caplin's form-functional theory and Hepokoski and Darcy's Sonata Theory. Analyzing the movement by engaging with the Sonata Theory will reveal the way Schubert achieved his mature sonata form, notably the way Schubert elevated the rotational form and sonata teleology. This seems to convey to the backbone thesis lying in the Sonata Theory, 'rotational form' complimented with 'teleological genesis' or 'telos'. 

The evolution of Schubert's maturity has been the issue in the scholarship and has not been reached a consens; but, it is generally agreed in 1824, as John Gingerich terms it 'divide of 1824', the decisive break that distinguishes the juvenile works from the later mature ones. However, the compositional evolution might have been predated from the earlier works prior to the breakthrough year of 1824, particularly from the Symphony in B minor, D. 759, 'Unfinished', 1822, as George Grove intuitively advocates. Despite the incomplete state of the work, the 'Unfinished' represents the incipient of his maturity in the instrumental music, particularly evident in the rotations of the principal motive derived from the opening theme, which plays an integral role in constructing the sonata form of the first movement. Schubert developed the rotational principle in the next grand symphony, and therefore the two symphonies share a number of the compositional tactics and stylistic features (such as the 'Introduction-and-Coda Frame', the attainment of MC in the fourth-level default, the expansion of the S space by developmental episodes and so forth). Moreover, interlinking the two symphonies will demonstrate that repetitions of the same musical ideas reflect Schubert's strategic, logical and rational use of rotations as a strategy of unifying force, and not 'discursive' (Tovey) nor 'meandering' (Dahlhaus). Thus, it will renovate Schubert's historical reception as a composer of instrumental music that can even be comparable to Beethoven. 

This paper will focus on the analysis of the first movement of the 'Great' Symphony, with a reference to the 'Unfinished,' by adapting the methodology from the Sonata Theory, particularly the rotational form, to explore the underlying theoretical notion of the linearity and rotational principle, and attempt not only to uncover the historical evolution of Schubert's maturity from the theoretical and analytical perspective but also to assess the Sonata Typology that the conventional Type 3 Sonata of the 'Great' elevates the "double-rotational sonata dialogue with Type 2 Sonata" of the 'Unfinished' (Hepokoski 2021).