Franz Schubert: An Introduction to … SCHUBERT: Piano Quintet "Trout"
Introduction, origins
Imagery, analogy and the shape of the things to come; the opening flourish
The unusual presence of the double-bass
A palette of tone colours and the emergence of a theme
Trouble getting off the ground, but the key is not in doubt.
Jumping the queue: Schubert takes a lesson from Mozart.
Mozart demonstrates a traditional transition.
Destination clarified
Mozart confirms our arrival.
A Schubertian shocker from a later work
Rejoining the 'Trout', with a reminder
The piano joins the strings with yet a third variant of the theme.
A rhythmic motto: the 'triplet motif'
We get it here.
We get it there.
We find it everywhere, even in the double-bass.
The strings' answer to the piano's opening flourish
The two-part structure of the 'answering motif'...
...but scarcely ever the same way twice
The piano and strings now share the material for the first time.
Conversation as the first principle of chamber music
Opening (introductory) section heard complete
The violin and double-bass in partnership
The violin and piano swap roles.
Transition to second main theme; triplets now everywhere
On the threshold of the new theme
Second main theme (a 'love duet'), shared by cello and viola
The abandonment of octaves in the piano changes the tone colour.
A surprising change of tone and a premonition
A return to lyricism, but the cello jumps the gun
A buoyant, skipping new theme is given to the solo piano.
Re-entry of the strings as the violin takes up the new theme
A transitional theme, and another Schubertian key-jump
We sense the imminent arrival of the closing theme.
A sudden, hushed key-change introduces part two of the closing theme.
The exposition comes to an end.
Cue to complete exposition
Music: exposition complete
Introduction to the development; the genetic code of 'key'
The contrasting aural properties of piano and violin
The ponderous double-bass is featured in the first main theme
The strings are liberated from servitude, but are a long way from home.
A joyful conversation and a change of pace in the piano
The piano takes the melodic lead again.
A conversation between violin and piano leads to the exposition...
...but Schubert gets it 'wrong'.
Music: first movement (complete)
Introduction to second movement
The violin now takes theme one.
The piano regains the theme.
The violin and piano round off first section with the new 'closing' theme.
A major change of tone: a passing cloud and a dark new key
The piano abandons its octaves, but not its triplets, in the new 'Hungarian' theme.
The sun returns with a new theme, in two contrasting parts.
An evaporating dialogue between violin and piano
A major mood change as twilight falls
Cue to whole movement
Music: second movement (complete)
Introduction to the Scherzo - and a clear four-bar phrase...
...'answered' by two two-bar phrases
A disconcerting 'echo'
Expectation, frustration and surprise
The phrase length exands from nine to fourteen bars
The beginning of the second half...
...or should it go from G minor to D major?
Doubts are sown as the tonality becomes elusive.
A varied reprise of part one, and the end of the Scherzo proper
A conversational start to the Trio section
Another Schubertian phrase extension
Two overlapping phrases add up to a single theme.
The piano adds a third phrase to the overlap.
The overlaps continue as the key drifts downwads
Another Schubertian key-jump, now to B flat
A dramatic transformation of mood
Awakening from a dream: the main theme's return
Cue to complete Scherzo
Music: third movement (complete)
Enter the trout, at last; a meeting with the original
Music: 'Die Forelle'
Back to the Quintet: the strings, headed by the violin, introduce the theme.
The first variation
The second variation
The third variation
The fourth variation, part one
The fourth variation, part two
The fifth variation
The final variation, part one: violin and piano alone introduce the theme
The final variation, part two: the cello takes the tune.
The final variation, part three: piano and violin return as a duo...
The final variation, part four: ...as do the viola and cello.
The final variation, part five: the entire ensemble is reunited.
Music: fourth movement (complete)
Introduction to the finale: Schubert as wizard of repetition
Easily overlooked: the accompaniment from cello and double-bass
Contrasts of timbre and register
A repetition, and yet not a repetition
A journey begun; the phenomenon of musical gravity
The journey completed
The source of musical gravity
Music: saint-saens - The Carnival of the Animals 'The Pianists'
A scale of shifting tensions
Music: Beethoven, Symphony No. 1 (Finale)
Back to Schubert
The piano embellishes a scalewise descent.
A retrospective moment
Repetition more apparent then real
A taste of phrase rhythm
Shifting patterns of accentuation
The section reviewed
An increasingly sophisticated texture as parts interact
More phrase rhythm
A repetition from the strings...
...and an answer from the piano
In transition to the secondary key
The origin of the second theme
The second main theme
The closing section begins, with a question answered.
The question repeated, a slightly differnet answer
First theme of closing section reviewed
Remembrance of things past
The piano and strings argue over the harmony.
Emergence of the final theme
An unexpected thunderstorm
The sound of silence
Cue to complete Finale
Music: Finale (Complete)
