Classics Explained: Schubert Piano Quintet "Trout" (Written and Narrated by Jeremy Siepmann)

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 queue: 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

Music: exposition complete

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'.

Piano Quintet in A major "Trout", D. 667: I. Allegro vivace (Kodály Quartet feat. piano: Jenő Jandó)

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

Piano Quintet in A major "Trout", D. 667: II. Andante (Kodály Quartet feat. piano: Jenő Jandó)

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 Exands 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 Downwads

Another Schubertian Key-Jump, Now to B flat

A Dramatic Transformation of Mood

Awakening From a Dream: The Main Theme's Return

Cue to Complete Scherzo

Piano Quintet in A major "Trout", D. 667: III. Scherzo: Presto (Kodály Quartet feat. piano: Jenő Jandó)

Enter the Trout, at Last; A Meeting With the Original

Music: "Die Forelle"

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.

Piano Quintet in A major "Trout", D. 667: IV. Theme: Andantino (Kodály Quartet feat. piano: Jenő Jandó)

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

Music: Saint-Saens - The Carnival of the Animals "The Pianists"

A Scale of Shifting Tensions

Music: Beethoven, Symphony No. 1 (Finale)

Back to Schubert

The Piano Embellishes a Scalewise Descent.

A Retrospective Moment

Repetition More Apparent Then 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 Origin 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

Piano Quintet in A major "Trout", D. 667: V. Finale: Allegro giusto (Kodály Quartet feat. piano: Jenő Jandó)