I. Adagio – Allegro II. Andante III. Scherzo. Presto IV. Allegro moderato

Schubert's eight symphonies can be grouped roughly into two periods: a juvenile set which began with the first symphony written in 1813 (when Schubert was only fifteen) and a mature group. The sixth symphony in C major is a representative of this second group, and was written in the Spring of 1818. Schubert was to begin the “Unfinished” symphony two years later, followed by the %u201CGreat” C major symphony. In deference to this latter majestic work, this C major symphony is known as the “Little” C major.

The two C major symphonies share another common feature besides tonality: they were both offered to the Viennese Musical Friends' Association, who rejected the great C major as being too long and difficult, but did perform the “little” C major in December 1828, admittedly a few weeks after Schubert's death. At first glance, the symphony seems to have much in common with his earlier symphonies. The influence of Haydn and Beethoven is blatant, but we can also detect a new influence, that of Italian music, primarily Rossini.

The tempo marking of the first movement, unusually for a symphony, is Allegretto (as opposed to Allegro). After a slow introduction, the upper woodwind perform the principal theme. The entire movement features the contrasting of strings and woodwind, and creates some striking dynamic contrasts. Taken as a whole, the movement is like an overture, an impression reinforced by the bombastic coda in a quicker tempo.

The second movement is an Andante and its ornamented theme is first presented by the strings before the woodwind take it over. The movement falls into three section, each of which are further are divisible into another three distinct  parts. The central section is characterised by extreme dynamic contrasts and triplet. When the theme is restated, it is accompanied by the triplet motion.

The third movement Scherzo is followed by a cheerful Allegro Moderato. In this movement, Schubert's new Italian interests are most apparent. Musicologists give conflicting assessments of the Rossini influence, many regarding it disapprovingly as a distraction on Schubert's part. Rossini's operas were first performed in Vienna in 1816, where a veritable  Rossini fever broke out. Schubert also knew the composer's music who was only five years Schubert's senior. At the time of the 6th symphony, the younger composer also wrote two Italian overtures.