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Classics Explained: SCHUBERT - Piano Quintet in A Major, 'Trout'

An exploration of Schubert's Trout Quinter by Jeremy Siepmann

Jeremy Siepmann (reader)

  • Catalogue No: 8558075-76
  • Label: Naxos
  • Series: Educational, Classics Explained
  • Length: 2 hours 23 minutes

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Contents

Schubert: An Introduction to … SCHUBERT: Piano Quintet "Trout"

Work length2:23:23
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  • Jeremy Siepmann (reader)

Introduction, origins

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Imagery, analogy and the shape of the things to come; the opening flourish

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The unusual presence of the double-bass

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A palette of tone colours and the emergence of a theme

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Trouble getting off the ground, but the key is not in doubt.

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Jumping the queue: Schubert takes a lesson from Mozart.

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Mozart demonstrates a traditional transition.

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Destination clarified

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Mozart confirms our arrival.

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A Schubertian shocker from a later work

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Rejoining the 'Trout', with a reminder

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The piano joins the strings with yet a third variant of the theme.

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A rhythmic motto: the 'triplet motif'

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We get it here.

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We get it there.

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We find it everywhere, even in the double-bass.

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The strings' answer to the piano's opening flourish

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The two-part structure of the 'answering motif'...

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...but scarcely ever the same way twice

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The piano and strings now share the material for the first time.

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Conversation as the first principle of chamber music

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Opening (introductory) section heard complete

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The violin and double-bass in partnership

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The violin and piano swap roles.

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Transition to second main theme; triplets now everywhere

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On the threshold of the new theme

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Second main theme (a 'love duet'), shared by cello and viola

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The abandonment of octaves in the piano changes the tone colour.

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A surprising change of tone and a premonition

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A return to lyricism, but the cello jumps the gun

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A buoyant, skipping new theme is given to the solo piano.

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Re-entry of the strings as the violin takes up the new theme

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A transitional theme, and another Schubertian key-jump

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We sense the imminent arrival of the closing theme.

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A sudden, hushed key-change introduces part two of the closing theme.

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The exposition comes to an end.

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Cue to complete exposition

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Music: exposition complete

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Introduction to the development; the genetic code of 'key'

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The contrasting aural properties of piano and violin

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The ponderous double-bass is featured in the first main theme

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The strings are liberated from servitude, but are a long way from home.

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A joyful conversation and a change of pace in the piano

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The piano takes the melodic lead again.

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A conversation between violin and piano leads to the exposition...

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...but Schubert gets it 'wrong'.

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Music: first movement (complete)

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Introduction to second movement

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The violin now takes theme one.

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The piano regains the theme.

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The violin and piano round off first section with the new 'closing' theme.

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A major change of tone: a passing cloud and a dark new key

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The piano abandons its octaves, but not its triplets, in the new 'Hungarian' theme.

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The sun returns with a new theme, in two contrasting parts.

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An evaporating dialogue between violin and piano

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A major mood change as twilight falls

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Cue to whole movement

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Music: second movement (complete)

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Introduction to the Scherzo - and a clear four-bar phrase...

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...'answered' by two two-bar phrases

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A disconcerting 'echo'

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Expectation, frustration and surprise

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The phrase length exands from nine to fourteen bars

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The beginning of the second half...

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...or should it go from G minor to D major?

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Doubts are sown as the tonality becomes elusive.

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A varied reprise of part one, and the end of the Scherzo proper

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A conversational start to the Trio section

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Another Schubertian phrase extension

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Two overlapping phrases add up to a single theme.

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The piano adds a third phrase to the overlap.

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The overlaps continue as the key drifts downwads

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Another Schubertian key-jump, now to B flat

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A dramatic transformation of mood

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Awakening from a dream: the main theme's return

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Cue to complete Scherzo

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Music: third movement (complete)

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Enter the trout, at last; a meeting with the original

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Music: 'Die Forelle'

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Back to the Quintet: the strings, headed by the violin, introduce the theme.

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The first variation

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The second variation

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The third variation

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The fourth variation, part one

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The fourth variation, part two

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The fifth variation

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The final variation, part one: violin and piano alone introduce the theme

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The final variation, part two: the cello takes the tune.

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The final variation, part three: piano and violin return as a duo...

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The final variation, part four: ...as do the viola and cello.

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The final variation, part five: the entire ensemble is reunited.

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Music: fourth movement (complete)

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Introduction to the finale: Schubert as wizard of repetition

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Easily overlooked: the accompaniment from cello and double-bass

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Contrasts of timbre and register

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A repetition, and yet not a repetition

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A journey begun; the phenomenon of musical gravity

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The journey completed

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The source of musical gravity

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Music: saint-saens - The Carnival of the Animals 'The Pianists'

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A scale of shifting tensions

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Music: Beethoven, Symphony No. 1 (Finale)

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Back to Schubert

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The piano embellishes a scalewise descent.

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A retrospective moment

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Repetition more apparent then real

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A taste of phrase rhythm

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Shifting patterns of accentuation

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The section reviewed

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An increasingly sophisticated texture as parts interact

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More phrase rhythm

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A repetition from the strings...

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...and an answer from the piano

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In transition to the secondary key

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The origin of the second theme

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The second main theme

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The closing section begins, with a question answered.

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The question repeated, a slightly differnet answer

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First theme of closing section reviewed

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Remembrance of things past

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The piano and strings argue over the harmony.

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Emergence of the final theme

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An unexpected thunderstorm

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The sound of silence

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Cue to complete Finale

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Music: Finale (Complete)

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