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Franz Peter Schubert Composer
An Introduction to Schubert's Piano Quintet 'Trout' (Naxos): Narration by Jeremy Siepmann
Performances: 1
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An Introduction to Schubert's Piano Quintet 'Trout' (Naxos): Narration by Jeremy SiepmannPr. Instrument: Narrator
- 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 quene: 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
- 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"
- 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
- 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 expands 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 downwards
- Another Schubertian key-jump, now to B flat
- A dramatic transformaton of mood
- Awakening from a dream: the main theme's return
- Cue to complete Scherzo
- Enter the trout, at last; a meeting with the original
- 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
- 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
- A scale of shifting tensions
- Back to Schubert
- The piano embellishes a scalewise descent
- A retrospective moment
- Repetition more apparent than 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 orgin of the second theme
- The second main theme
- The closing section begins, with a question answered
- The question repeated, a slightly different 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
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