Far more "development" happens in the traditional areas of exposition and recapitulation than the literal development section itself, which is relatively brief by comparison. Instead, there is contrast, expansion and variation in an endless matrix of sudden contrasts in modality, texture, dynamics, rhythm and mood. It is not until the last few bars that the battle finally yields to a briefly stable victory for G Major.
The second movement Andante is the slow movement of similarly vast proportions and emotional intensity. A delicate elegiac theme features the cello with a somber, moderate cast in E minor that rises only briefly in its second reprise to a brief smile of temporary relief. Suddenly, a huge surge of dark passion interrupts the suave lament as if the first movement were rushing back complete with dotted rhythms, nervous tremolos and abrupt, stabbing gestures.
Once again, Schubert is positively transfixed with two contrasting ideas that seem to recur more often and more directly than classical forms seem to encourage. But as in the first movement and throughout much of his oeuvre, Schubert never says the same thing twice. Each recurrence brings a change of instrumentation, texture, rhythm, key or modality, sometimes only as a subtle nuance. The casual listener finds repetition on the surface while the deeper listener discovers endless diversity exploiting gorgeous, resilient musical ideas in a constant state of transformation.
SCHUBERT String Quartet No. 15 in G Major, D. 887, Op. 161
A much lighter and shorter Scherzo breaks the spell with a tensile agility that suggests Mendelssohn who, during the same year of would have been a teenager hard at work on his remarkable overture to a Midsummer Night's Dream. A sublime duet between cello and violin dances like a poignant dream lost so quickly in the ensuing tumult. Characteristically, the first several measures feature an unstable tonality flickering by the beat between major and minor and just as quickly, restless modulations to new keys.
Many commentators have likened the finale to an opera buffa where Schubert's temperamental drama assumes a comedic cast in a kind of frantic parody of itself. The combination of reprise along with prominent developmental aspects crafts a hybrid of rondo and sonata forms first established by Haydn. The comparatively effervescent character of Schubert's conclusion is merely a pause in the seemingly endless flow of his mightier passions.
From the last string quartet, Schubert moved on to the singular String Quintet, a musical thread we will resume in an upcoming concert this season at Kohl Mansion.
- String Quartet No. 15 in G major, Op. , D. - Franz Schubert.
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All rights reserved. Radice Chamber Music. Berger Chamber Music. Franz Schubert Nationality : Austrian. String Quartet No. Duration : 47 minutes approximately. Composed : age Published : , Vienna: Diabelli.
String Quartet No. 15 (Schubert) | Revolvy
From Kai Christiansen. From the Italian word for cheerful or gay. Faster than adagio but slower than allegretto assai — very much. Intensifies the direction of its neighboring words, e. Somewhat more lively than its context would suggest, e. Alongside their successful individual careers, Christian and Tanja Tetzlaff, Hanna Weinmeister and Elisabeth Kufferath have met since to perform several times each season in concerts that regularly receive great critical acclaim.
It is the last work in the impressive series of String Quartets that Schubert wrote during his lifetime. The String Quartet in G minor, Op.
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In this revolutionary work the composer explores the limits of the genre through unusual choices in its structure and style. HDtracks - High Definition Music. Search: Search.
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Schubert: String Quartet in G Major / Piano Trio in E Flat Major "Notturno"
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