Composer(s): Schubert, Franz
Artist(s): Siepmann, Jeremy
Label: Naxos Educational
Genre: Music Education
Period: Romantic
Catalogue No: 8.558075-76
Barcode: 0636943807521
Release Date: 09/2002

Classics Explained: SCHUBERT - Piano Quintet, “The Trout” (Siepmann)

‘The happiest work in the world’, it’s been called. ‘The ultimate feel-good piece’. ‘The only work that nobody doesn’t like’. The ‘Trout’ Quintet, named after the Schubert song that provides the theme for the fourth movement, gives us Schubert at his most irresistible: a veritable fountain of wonderful tunes, rippling, dancing rhythms, and amazing surprises. It all sounds as effortless and spontaneous as music gets. But it’s the amazing art behind this appearance of total naturalness that concerns us here. And unravelling it is almost as much fun as the piece, which is also presented here in its entirety, movement by movement after each chapter of discovery.

A series exploring, in words and music, the major classical works of the concert hall. In an accessible and lively manner, Jeremy Siepmann looks at the history and form of the great masterpieces of Western music.

Tracklist

Disc 1
Schubert, Franz
1Introduction, origins01:39
2Imagery, analogy and the shape of the things to come; the opening flourish01:50
3The unusual presence of the double-bass00:54
4A palette of tone colours and the emergence of a theme00:47
5Trouble getting off the ground, but the key is not in doubt.00:49
6Jumping the queue: Schubert takes a lesson from Mozart.01:33
7Mozart demonstrates a traditional transition.00:33
8Destination clarified00:07
9Mozart confirms our arrival.00:08
10A Schubertian shocker from a later work00:52
11Rejoining the 'Trout', with a reminder00:27
12The piano joins the strings with yet a third variant of the theme.00:31
13A rhythmic motto: the 'triplet motif'01:26
14We get it here.00:17
15We get it there.00:17
16We find it everywhere, even in the double-bass.00:27
17The strings' answer to the piano's opening flourish00:36
18The two-part structure of the 'answering motif'...00:24
19...but scarcely ever the same way twice00:34
20The piano and strings now share the material for the first time.00:42
21Conversation as the first principle of chamber music00:43
22Opening (introductory) section heard complete01:01
23The violin and double-bass in partnership01:16
24The violin and piano swap roles.00:59
25Transition to second main theme; triplets now everywhere01:12
26On the threshold of the new theme00:30
27Second main theme (a 'love duet'), shared by cello and viola01:24
28The abandonment of octaves in the piano changes the tone colour.01:07
29A surprising change of tone and a premonition00:39
30A return to lyricism, but the cello jumps the gun00:37
31A buoyant, skipping new theme is given to the solo piano.00:36
32Re-entry of the strings as the violin takes up the new theme00:25
33A transitional theme, and another Schubertian key-jump01:33
34We sense the imminent arrival of the closing theme.01:31
35A sudden, hushed key-change introduces part two of the closing theme.00:40
36The exposition comes to an end.00:32
37Cue to complete exposition00:06
38Music: exposition complete04:09
39Introduction to the development; the genetic code of 'key'07:20
40The contrasting aural properties of piano and violin01:03
41The ponderous double-bass is featured in the first main theme00:49
42The strings are liberated from servitude, but are a long way from home.00:42
43A joyful conversation and a change of pace in the piano01:06
44The piano takes the melodic lead again.00:31
45A conversation between violin and piano leads to the exposition...01:20
46...but Schubert gets it 'wrong'.01:35
47Music: first movement (complete)09:09
48Introduction to second movement01:53
49The violin now takes theme one.00:29
50The piano regains the theme.00:42
51The violin and piano round off first section with the new 'closing' theme.00:35
52A Major change of tone: a passing cloud and a dark new key01:19
53The piano abandons its octaves, but not its triplets, in the new 'Hungarian' theme.01:28
54The sun returns with a new theme, in two contrasting parts.01:21
55An evaporating dialogue between violin and piano00:58
56A Major mood change as twilight falls01:12
57Cue to whole movement00:33
58Music: second movement (complete)07:30
Disc 2
1Introduction to the Scherzo - and a clear four-bar phrase...01:37
2...'answered' by two two-bar phrases00:21
3A disconcerting 'echo'01:02
4Expectation, frustration and surprise00:27
5The phrase length exands from nine to fourteen bars00:36
6The beginning of the second half...01:07
7...or should it go from G Minor to D Major?00:08
8Doubts are sown as the tonality becomes elusive.00:48
9A varied reprise of part one, and the end of the Scherzo proper00:33
10A conversational start to the Trio section00:40
11Another Schubertian phrase extension00:25
12Two overlapping phrases add up to a single theme.00:22
13The piano adds a third phrase to the overlap.00:32
14The overlaps continue as the key drifts downwads00:36
15Another Schubertian key-jump, now to B flat00:45
16A dramatic transformation of mood00:52
17Awakening from a dream: the main theme's return00:51
18Cue to complete Scherzo00:11
19Music: third movement (complete)03:52
20Enter the trout, at last; a meeting with the original00:30
21Music: 'Die Forelle'01:59
22Back to the Quintet: the strings, headed by the violin, introduce the theme.01:24
23The first variation01:41
24The second variation01:14
25The third variation01:20
26The fourth variation, part one01:33
27The fourth variation, part two00:57
28The fifth variation02:45
29The final variation, part one: violin and piano alone introduce the theme00:31
30The final variation, part two: the cello takes the tune.00:25
31The final variation, part three: piano and violin return as a duo...00:25
32The final variation, part four: ...as do the viola and cello.00:17
33The final variation, part five: the entire ensemble is reunited.00:39
34Music: fourth movement (complete)07:09
35Introduction to the finale: Schubert as wizard of repetition02:17
36Easily overlooked: the accompaniment from cello and double-bass00:36
37Contrasts of timbre and register00:59
38A repetition, and yet not a repetition00:07
39A journey begun; the phenomenon of musical gravity00:22
40The journey completed00:16
41The source of musical gravity00:22
42Music: saint-saens - The Carnival of the Animals 'The Pianists'00:28
43A scale of shifting tensions00:49
44Music: Beethoven, Symphony No. 1 (Finale)00:37
45Back to Schubert00:39
46The piano embellishes a scalewise descent.00:18
47A retrospective moment00:33
48Repetition more apparent then real01:02
49A taste of phrase rhythm01:26
50Shifting patterns of accentuation00:27
51The section reviewed00:15
52An increasingly sophisticated texture as parts interact00:46
53More phrase rhythm00:29
54A repetition from the strings...00:11
55...and an answer from the piano00:13
56In transition to the secondary key00:51
57The origin of the second theme00:19
58The second main theme00:38
59The closing section begins, with a question answered.00:42
60The question repeated, a slightly differnet answer00:28
61First theme of closing section reviewed00:59
62Remembrance of things past00:28
63The piano and strings argue over the harmony.01:13
64Emergence of the final theme00:24
65An unexpected thunderstorm00:51
66The sound of silence01:29
67Cue to complete Finale01:00
68Music: Finale (Complete)06:47

Total Playing Time: 02:23:23