Franz Schubert - String Quintet (1828)
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- เผยแพร่เมื่อ 4 มิ.ย. 2024
- Franz Peter Schubert (31 January 1797 - 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. The Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8, D. 759 (Unfinished Symphony), the three last piano sonatas, D. 958-960, and his song cycles Die schöne Müllerin and Winterreise are some of his most important works.
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String Quintet in C major, D. 956, Opus 163 posth.
1. Allegro ma non troppo (0:00)
2. Adagio (19:45)
3. Scherzo. Presto - Trio. Andante sostenuto (34:27)
4. Allegretto - Più allegro (45:31)
Wiener Streichsextett: Erich Hobarth, Peter Matzka (violin); Thomas Riebl (viola); Rudolf Leopold, Susanne Ehn (cello)
Recorded: 27-29 Sept., 1994; Grosser Saal, Salzburg Mozarteum
EMI
Description by James Liu [-]
Benjamin Britten once suggested that "the richest and most productive eighteen months in music history" were "the period in which Franz Schubert wrote Winterreise, the C major symphony, his last three piano sonatas, the C Major String Quintet, as well as a dozen other glorious pieces." The String Quintet, D. 956 is certainly one of the pinnacles of the chamber music canon, and is often cited as a significant example of the composer's legacy.
Certainly in the period between the death of his idol, Beethoven, and his own passing, the 31-year-old Schubert achieved a breakthrough in large-scale forms the likes of which has not been seen since. But the Quintet strikes one more as young man's music than as a summary statement; there is a youthful ambition that is not unlike that of Beethoven's first string quartets.
For his scoring, Schubert went against the model of Mozart and Beethoven, who each added a second viola to the conventional string quartet for their quintets; Boccherini, Dittersdorf and Onslow amongst some others created the precedent of two cellos. Schubert uses the second cello to create dense and varied textures: sometimes the cello serves as a second bass instrument under a full quartet, sometimes it's a bass-rich quartet sans violin, and sometimes there is a rich interplay between instrumental sections.
The first two movements have an expansive and deliberate buildup that seems to anticipate the sprawling structures of Anton Bruckner. But in most ways the piece remains quite conventional; it retains the standard four-movement format, and has an energetic scherzo (though a more wistful trio) and a zestful, almost Hungarian finale. Despite the bleak spaces of the slow movement, these movements suggest a youth's first steps into maturity, and the work as a whole serves as a tantalizing reminder of what might have been, had Schubert been granted more time to create and innovate.
From IMSLP:
First public performance: 17 Nov 1850 in the kleine Musikvereinsaal Vienna by the Joseph Hellmesberger Sr. Quartet. Joseph Hellmesberger Sr. (1st violin), Matthias Durst (2nd violin) Carl Heissler (viola), Carl Schlesinger (cello) and Josef Stransky 2nd cello.
The Quintet was to be Schubert’s last completed chamber work. In mid-October of 1828 - just a few weeks after having completed the Quintet - Schubert’s appetite disappeared. Weakened by tertiary syphilis and the toxic, mercury-based medications he was taking for the syphilis, Schubert took to his bed with a high, persistent fever, almost certainly caused by a bacterial typhoid infection. Schubert died at three o’clock in the afternoon on November 19, 1828. The String Quintet in C Major - scored for two violins, a viola, and two ‘cellos - is widely believed to be among the handful of greatest chamber works ever composed.
Date of publication- 1853 according to Deutsch ("Anfang 1853, Gestochen noch vor dem Ausscheiden Diabellis aus dem Verlag 1851".)
Composition completed - 1828 September or October. It is not certain, that it was completed before the B-flat piano sonata. It was his last completed (multi-instrument) chamber work. - เพลง
Sublime. Britten was right (of course). Schubert's last two years were astonishing
....the Adagio.....upon hearing this....again....after too many years....I can see what Britten means....even considering Beethoven's last chamber works....THIS soars beyond all boundaries and imagination.....Requires deep study and many listenings....to really penetrate the dense complexity.....OMyGod.......
Hey, I wrote that description, a few decades ago!
Britten was neither the first nor the last to say that. Basically everybody does. Maybe he said something more specific?
Otherwise: excellent version!
@@brkahn I included the quote (see in the description to the video above). I informally remember something along the lines of after Schubert's death, the rot set in, but I can't cite a source for this.
@@JamesCSLiu Oh, he said 'in music history'! Sorry, I had not noticed it. Maybe the generalisation is a little overstated? I mean, it may be literally true but, for example, Haydn's production in his later years (say, starting from the London period) is astonishing in quantity and quality even if it spreads over a much longer period. (No, I am not trying to compare them or say than one is superior to the other; far from it!)
Jesus this Trio... So much pain and so much beauty expressed with such restraint and economy, it's just divine
The composer I respect the most, otherworldly talent.
0:00 1st area: C major (listen to the darker diminished chord, which already pointed towards Eb major & G major in the later 2nd & 3rd area)
1:54 2nd area: Eb major (played by cellos; in a moment briefly back in C major, going through similar path like the opening C major, pointing towards G major)
2:38 Eb major (repeat by violins)
3:18 Oh we finally landed the G major! (the famous third area) - occasionally "nervous" minor inflections 3:28 - Eb major joins the climax 3:50 - but quickly resolved by the running G major scales 3:54)
4:06 Time to wrap up the 3rd area, Eb or G major? G major!
4:32 Now, the 2nd area which was originally by Eb major, winding down by G major - quickly cancel the F# thingy and go back to the beginning C major!
5:10 A full repeat of the exposition ~ if you see all the "roller coaster", you know why Schubert wants that!
10:06 The half cadence of the C major (the G), was overtaken by half step of G#, leading to a new key for 2nd area -> using the same small snippet to kickoff the development session
10:33 the development begins with a battling theme in c# minor which overcomes by such a sublime variation of 2nd area in Db major 11:00 (this goes over multiple tone area)
13:33 finally, we come back to the 1st area theme (repeat again? No. This is destined to be somewhere else 14:27)
15:13 After modulations, we landed in, you know what, a surprisingly Ab major (just like 1:54, it briefly goes to F major, then point towards C major; we are almost home!!!)
16:38 We championed the brightest third area in home key Cmaj!!! minor infection back to relative a minor, and hand-waving to the flat-supertonic Db major! (this is the critical one that ties the whole piece more prominently in later movements)
17:28 again, emphasizing the process from minor to major!
18:26 chromatic scales that also highlighted the half-step modulation
18:50 Finally, the 2nd area is also landed home in C major!!! (Listen to 19:10, there is still a c-minor chord that hinted on the darker side)
...
It's an incredible work. What struck me when I first heard it , is the sheer scale of it. But contained within it is nothing short of otherworldly genius... thanks for uploading...
28:37 the most magical moment of all Schubert's music!
Such subtle "ppp" steps in modulation (27:54-28:50) from F minor back to E major. Schubert uses a series of diminished chords, then breaks through (IV-V-I) to the E major, Then 28:50? - 31:00 a poignant "duet/dialogue (recitative?)" between the first violin (soprano?) and second cello (bass?). The two lines are quite clear but not competing, even if overlapping at times. The interpretation of the dynamics of the two players suggests they are responding to each other, and considering voice intonation. All while the three middle instruments support and set the mood. Amazing....the quintessential Schubert !
Il y a tant d'instants magiques dans la musique de Schubert qu'il est simplement impossible d'en désigner un plus magique que les autres !!
The entire work is, of course, absolute genius containing a wondrous imagination carefully folded into what seems to be simplicity. But that adagio.... that adagio is a master class in harmonic texture, rhythmic subtlety, heartbreaking, profoundly tender expression, and boundless invention. It has been suggested that had Schubert lived longer, he would have surpassed even Beethoven himself, and while we can only wonder at what he would have accomplished given more time, the last two years achieve more greatness than most do in a lifetime.
I predict that if had lived only a few more years that he would have finally composed a successful opera and given us a concerto (the one genre missing from his large output.)
True....way Beyond the Imaginable....deep intellect.....BRAVO from Mexico City!
Beethoven wasn't even Beethoven yet at 31, almost. Schubert's early death was probably the biggest lost in music history.
@@albertomartin4812It does make for a beautifully tragic "what if" scenario, Schubert living longer. 🤔🥰
@@telephiliaIf only he had written either! 🥰🤯
This has probably been my favourite chamber work ever since I first heard it.
I remember fondly reading through this quintet with friends while I was living in Nairobi (I was 2nd violin). There are some extremely fun passages to play in this monumental and moving work!
One of the greatest achievements of Western civilization.
Why comment section is not off...
the adaggio will tear your heart out
I never understood the passion for Schubert’s sentimental Viennese shit.
@@willchi895 what makes you dislike it? Just curious, fr.
@@guikentaro I actually adore it. My comment was a reference in reply to OP who was referencing a 2001 movie called "Conspiracy" which features this piece. "the adagio will tear your heart out" is a line said by Reinhard Heydrich and "I never understood the passion for Schubert’s sentimental Viennese shit." is a line said by Adolf Eichmann showing his dispassion as a cold blooded bureaucrat and major holocaust perpetrator.
Incredible composition; Schubert's writing here is sublime on the highest level.
Wunderschöne und detaillierte Interpretation dieser romantischen und perfekt komponierten Quintetts in verschiedenen Tempi mit seidigen doch gut phrasierten Tönen aller genialen Streichinstrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den fünf Virtuosen ist wahrhaft ergreifend. Wunderbar vom Anfang bis zum Ende!
Thank you for uploading this! It is one of the most beautiful musical experiences ever conceived and is personally meaningful to me.
When I was in my teens I had the great fortune to sit in on rehearsals with Arnold Steinhardt, Leonard Rose, 2 others, and my violin teacher (playing second violin). They hardly spoke a word except to exchange social pleasantries. The music just emerged of its own, Schubert continuing to whisper into our ears from across the centuries.
This is an ideal performance of this towering and intimate work. The beat is maintained without rubato, there is little vibrato, there isn't the aggression of some other performances, the tempi are all judicious, the music is deeply felt, and no ego is interposed between the music and its presentation. Well done indeed.
Pure and simple.....I suspect that is what Schubert had in mind.
Always the shortest hour of music... so beautifully crafted, so carefully expressed.
Thank you, Schubert! ❤
this music touch the heart deeply
Thank you very much for this splendid rendition of the most beautiful quintet ever created.
One of the most beautiful pieces of music ever created.
Exquisite musical texture.
Wonderful when one of the cellos moves into the viola (tenor) range.
My stream went haywire - not even sure what that word means. Having started with Schoenberg solo piano and Carter's 2nd String Quartet the yt algo deduces that Schubert must come next. There is a grace, a purity of expression and an inspiration in this music so that the "arc" from Schoenberg to Elliott Carter to Schubert is a straight line albeit in a non Euclidean space. Just talking out the side of my neck.
That ending
Thank you.
La obra más sublime de música de cámara de Schubert, la cual toqué muchas veces con mi grupo de cámara QUINTETO DE CUERDAS TEMPUS.
As in much of the chamber music literature, I'm going to go out on a limb and say the viola part here is clearly the most difficult of all.
15:30 strikingly resembles the second theme of the first movement of Bruckner's 4th Symphony
I came here to say that too
what a fucking masterpiece!!! and an absolutely flawless and exciting performance!
The last movement either in C major or C minor? The ending is so mysterious
D flat points to F minor
Thank you very much for stealing an hour of my day. Torturing my planned day with an hour of subliminous joy.😂
Allein schon der zweite Satz ist Herzzereisend.
Absolut! Aber das Ende des zweiten Satzes ist friedlich.
1:57 sounds a lot like bruckner 4
Pianist Arthur Rubenstein termed the Adagio movement as the "entrance into heaven". He found it exquisite, and asked his wife to play it when he would be on his death bed. Entering death resigned and happy.
Idiotic description. The second movement has pain in it, torment. And the middle section is a pure nightmare filled with horror. It has nothing to do with heaven. I always suspected that Rubinstein was kinda dumb
The question isn't about what Schubert would have done if he had lived as long as Beethoven. The question is about what Schubert would have done if he had lived as long as Mozart.
- clive james.
tritone substitution at the end lol
Brahms use they turbulente of adagio in f minor for Brahms piano quintett 1 movement
"You can't make this stuff up." No , you can't. It's a gift from the Divine.
It is not, Schubert was a genius, and there is no god, saying that that is a divine gift is taking away the fact that Schubert was a genius
@@MozartAmadeus-fm5dd His genius is the result of genetics and circumstance, i.e. things that were out of his control, which takes away the fact that he was a genius... oh wait that's dumb
"Boccherini provided the only precedent for using two cellos"
Wow, way to wipe Dittersdorf's String Quintets out of existence. 😞I've heard a couple of them and I thought they were actually pretty good. If you've only heard Dittersdorf's symphonies and not thought very highly of them - and I kinda agree - you might find his chamber music (and operas) of a much higher quality. He wrote at least 6 surviving String Quintets which use two cellos instead of two violas!
Thanks for the info. I used AllMusic details. And George Onslow wrote about 32 String Quintets with 2 Cellos with No. 1 from 1806. I will have to change the info.
@@bartjebartmans I'm glad you didn't take it as an insult (I was trying to make it obvious I was being playful when pointing it out).
But in all seriousness, you might like to give a sample to Dittersdorf's chamber music. His symphonies get the most play for some reason, but I don't find them all that good for the most part. His chamber works for strings? Quartets & Quintets? Not bad, not bad at all. Some people hear his symphonies and tune out the rest, which I can understand, but if you do that with Dittersdorf you're missing out on his real strengths. Just my opinion of course, and thank you so much for your channel! If TH-cam channels were equated to masterworks, yours would be Schubert's String Quintet, and I mean that!
Thanks for your feedback! I know some of Dittersdorf's Singspiele like Doktor und Apotheker and his harp concerto (Zabaleta). I heard a few Symphonies but they are difficult to keep apart as they are pretty standard material of those days, but not bad! I will check out his Quintets, those always catch my interest.
@@IgnatzKolisch I quite like the 'Ovid Metamorphoses' Symphony no. 4 in F major "The Rescue of Andromeda by Perseus", the simple beauty of the first movement always appealed to me greatly, and I really like the mysterious quality of it's limited accompaniment and melody. I'll have to look up the string quintets, they sound interesting.
0:05 just like chopin op 3
1:37
49:25
This is so far and away superior to Casals and the Budapest.
55:33
4:10
17:25