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Franz Schubert
Classics Explained: Schubert Piano Quintet "Trout" (Written and Narrated by Jeremy Siepmann)
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1 |
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Title |
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Time |
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Info |
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| 1 |
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Introduction, origins |
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1:39 |
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| 2 |
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Imagery, analogy and the shape of the things to come; the opening flourish |
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1:51 |
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| 3 |
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The unusual presence of the double-bass |
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0:54 |
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| 4 |
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A palette of tone colours and the emergence of a theme |
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0:47 |
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| 5 |
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Trouble getting off the ground, but the key is not in doubt. |
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0:49 |
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| 6 |
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Jumping the queue: Schubert takes a lesson from Mozart. |
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1:33 |
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| 7 |
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Mozart demonstrates a traditional transition. |
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0:34 |
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| 8 |
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Destination clarified |
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0:07 |
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| 9 |
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Mozart confirms our arrival. |
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0:08 |
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| 10 |
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A Schubertian shocker from a later work |
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0:53 |
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| 11 |
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Rejoining the 'Trout', with a reminder |
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0:27 |
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| 12 |
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The piano joins the strings with yet a third variant of the theme. |
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0:31 |
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| 13 |
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A rhythmic motto: the 'triplet motif' |
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1:27 |
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| 14 |
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We get it here. |
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0:17 |
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| 15 |
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We get it there. |
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0:18 |
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| 16 |
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We find it everywhere, even in the double-bass. |
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0:28 |
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| 17 |
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The strings' answer to the piano's opening flourish |
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0:36 |
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| 18 |
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The two-part structure of the 'answering motif'... |
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0:24 |
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| 19 |
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...but scarcely ever the same way twice |
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0:34 |
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| 20 |
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The piano and strings now share the material for the first time. |
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0:42 |
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| 21 |
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Conversation as the first principle of chamber music |
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0:44 |
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| 22 |
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Opening (introductory) section heard complete |
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1:02 |
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| 23 |
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The violin and double-bass in partnership |
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1:16 |
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| 24 |
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The violin and piano swap roles. |
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0:60 |
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| 25 |
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Transition to second main theme; triplets now everywhere |
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1:12 |
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| 26 |
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On the threshold of the new theme |
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0:31 |
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| 27 |
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Second main theme (a 'love duet'), shared by cello and viola |
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1:24 |
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| 28 |
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The abandonment of octaves in the piano changes the tone colour. |
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1:08 |
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| 29 |
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A surprising change of tone and a premonition |
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0:40 |
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| 30 |
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A return to lyricism, but the cello jumps the gun |
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0:38 |
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| 31 |
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A buoyant, skipping new theme is given to the solo piano. |
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0:36 |
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| 32 |
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Re-entry of the strings as the violin takes up the new theme |
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0:26 |
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| 33 |
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A transitional theme, and another Schubertian key-jump |
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1:34 |
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| 34 |
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We sense the imminent arrival of the closing theme. |
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1:32 |
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| 35 |
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A sudden, hushed key-change introduces part two of the closing theme. |
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0:41 |
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| 36 |
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The exposition comes to an end. |
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0:32 |
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| 37 |
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Cue to complete exposition |
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0:07 |
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| 38 |
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Music: exposition complete |
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4:09 |
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| 39 |
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Introduction to the development; the genetic code of 'key' |
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7:20 |
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| 40 |
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The contrasting aural properties of piano and violin |
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1:03 |
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| 41 |
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The ponderous double-bass is featured in the first main theme |
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0:49 |
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| 42 |
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The strings are liberated from servitude, but are a long way from home. |
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0:43 |
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| 43 |
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A joyful conversation and a change of pace in the piano |
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1:06 |
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| 44 |
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The piano takes the melodic lead again. |
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0:32 |
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| 45 |
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A conversation between violin and piano leads to the exposition... |
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1:21 |
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| 46 |
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...but Schubert gets it 'wrong'. |
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1:36 |
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| 47 |
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Piano Quintet in A major "Trout", D. 667: I. Allegro vivace (Kodály Quartet feat. piano: Jenő Jandó) |
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13:21 |
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| 48 |
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Introduction to second movement |
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1:53 |
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| 49 |
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The violin now takes theme one. |
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0:29 |
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| 50 |
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The piano regains the theme. |
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0:43 |
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| 51 |
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The violin and piano round off first section with the new 'closing' theme. |
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0:35 |
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| 52 |
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A major change of tone: a passing cloud and a dark new key |
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1:19 |
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| 53 |
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The piano abandons its octaves, but not its triplets, in the new 'Hungarian' theme. |
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1:29 |
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| 54 |
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The sun returns with a new theme, in two contrasting parts. |
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1:21 |
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| 55 |
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An evaporating dialogue between violin and piano |
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0:59 |
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| 56 |
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A major mood change as twilight falls |
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1:12 |
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| 57 |
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Cue to whole movement |
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0:33 |
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| 58 |
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Piano Quintet in A major "Trout", D. 667: II. Andante (Kodály Quartet feat. piano: Jenő Jandó) |
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7:30 |
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Total time |
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80:08 |
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2 |
| # |
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Title |
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Time |
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Info |
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| 1 |
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Introduction to the Scherzo - And a Clear Four-Bar Phrase... |
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1:38 |
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| 2 |
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..."Answered" by Two Two-Bar Phrases |
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0:21 |
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| 3 |
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A Disconcerting "Echo" |
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1:03 |
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| 4 |
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Expectation, Frustration and Surprise |
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0:27 |
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| 5 |
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The Phrase Length Exands From Nine to Fourteen Bars |
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0:37 |
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| 6 |
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The Beginning of the Second Half... |
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1:08 |
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| 7 |
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... or Should It Go From G minor to D major? |
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0:09 |
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| 8 |
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Doubts Are Sown as the Tonality Becomes Elusive. |
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0:49 |
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| 9 |
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A Varied Reprise of Part One, and the End of the Scherzo Proper |
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0:33 |
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| 10 |
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A Conversational Start to the Trio Section |
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0:40 |
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| 11 |
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Another Schubertian Phrase Extension |
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0:26 |
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| 12 |
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Two Overlapping Phrases Add Up to a Single Theme. |
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0:22 |
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| 13 |
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The Piano Adds a Third Phrase to the Overlap. |
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0:32 |
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| 14 |
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The Overlaps Continue as the Key Drifts Downwads |
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0:36 |
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| 15 |
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Another Schubertian Key-Jump, Now to B flat |
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0:46 |
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| 16 |
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A Dramatic Transformation of Mood |
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0:53 |
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| 17 |
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Awakening From a Dream: The Main Theme's Return |
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0:52 |
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| 18 |
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Cue to Complete Scherzo |
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0:12 |
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| 19 |
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Piano Quintet in A major "Trout", D. 667: III. Scherzo: Presto (Kodály Quartet feat. piano: Jenő Jandó) |
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3:55 |
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| 20 |
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Enter the Trout, at Last; A Meeting With the Original |
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0:31 |
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| 21 |
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Music: "Die Forelle" |
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1:60 |
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| 22 |
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Back to the Quintet: The Strings, Headed by the Violin, Introduce the Theme. |
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1:25 |
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| 23 |
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The First Variation |
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1:42 |
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| 24 |
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The Second Variation |
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1:14 |
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| 25 |
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The Third Variation |
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1:20 |
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| 26 |
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The Fourth Variation, Part One |
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1:34 |
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| 27 |
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The Fourth Variation, Part Two |
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0:58 |
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| 28 |
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The Fifth Variation |
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2:45 |
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| 29 |
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The Final Variation, Part One: Violin and Piano Alone Introduce the Theme |
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0:32 |
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| 30 |
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The Final Variation, Part Two: The Cello Takes the Tune. |
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0:25 |
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| 31 |
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The Final Variation, Part Three: Piano and Violin Return as a Duo... |
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0:25 |
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| 32 |
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The Final Variation, Part Four: ...as Do the Viola and Cello. |
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0:18 |
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| 33 |
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The Final Variation, Part Five: The Entire Ensemble Is Reunited. |
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0:40 |
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| 34 |
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Piano Quintet in A major "Trout", D. 667: IV. Theme: Andantino (Kodály Quartet feat. piano: Jenő Jandó) |
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7:14 |
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| 35 |
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Introduction to the Finale: Schubert as Wizard of Repetition |
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2:18 |
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| 36 |
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Easily Overlooked: The Accompaniment From Cello and Double-Bass |
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0:36 |
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| 37 |
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Contrasts of Timbre and Register |
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0:59 |
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| 38 |
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A Repetition, and Yet Not a Repetition |
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0:08 |
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| 39 |
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A Journey Begun; The Phenomenon of Musical Gravity |
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0:23 |
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| 40 |
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The Journey Completed |
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0:17 |
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| 41 |
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The Source of Musical Gravity |
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0:23 |
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| 42 |
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Music: Saint-Saens - The Carnival of the Animals "The Pianists" |
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0:28 |
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| 43 |
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A Scale of Shifting Tensions |
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0:50 |
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| 44 |
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Music: Beethoven, Symphony No. 1 (Finale) |
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0:38 |
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| 45 |
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Back to Schubert |
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0:40 |
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| 46 |
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The Piano Embellishes a Scalewise Descent. |
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0:19 |
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| 47 |
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A Retrospective Moment |
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0:33 |
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| 48 |
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Repetition More Apparent Then Real |
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1:02 |
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| 49 |
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A Taste of Phrase Rhythm |
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1:26 |
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| 50 |
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Shifting Patterns of Accentuation |
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0:28 |
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| 51 |
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The Section Reviewed |
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0:16 |
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| 52 |
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An Increasingly Sophisticated Texture as Parts Interact |
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0:46 |
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| 53 |
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More Phrase Rhythm |
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0:30 |
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| 54 |
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A Repetition From the Strings... |
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0:11 |
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| 55 |
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... and an Answer From the Piano |
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0:13 |
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| 56 |
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In Transition to the Secondary Key |
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0:51 |
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| 57 |
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The Origin of the Second Theme |
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0:19 |
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| 58 |
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The Second Main Theme |
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0:39 |
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| 59 |
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The Closing Section Begins, With a Question Answered. |
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0:43 |
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| 60 |
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The Question Repeated, a Slightly Differnet Answer |
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0:28 |
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| 61 |
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First Theme of Closing Section Reviewed |
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0:60 |
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| 62 |
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Remembrance of Things Past |
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0:28 |
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| 63 |
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The Piano and Strings Argue Over the Harmony. |
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1:14 |
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| 64 |
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Emergence of the Final Theme |
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0:25 |
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| 65 |
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An Unexpected Thunderstorm |
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0:51 |
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| 66 |
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The Sound of Silence |
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1:30 |
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| 67 |
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Cue to Complete Finale |
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1:00 |
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| 68 |
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Piano Quintet in A major "Trout", D. 667: V. Finale: Allegro giusto (Kodály Quartet feat. piano: Jenő Jandó) |
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6:52 |
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Total time |
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68:44 |
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