concert Programs Art Resource,NY Call oftheHeaven. Lightning,1935–1936. Nicholas Roerich(1874–1947). July 19: Dr. Condoleezza Rice July 18:DarrenH.BechtelandalsotoIris andPaul Brest support: ing individualswithgratitudefor theirgenerous Music@Menlo dedicatestheseperformancestothefollow- SPECIAL THANKS (Tickets: $65. purchaserequired.) Advance catered dinnerreception ontheMenlo Schoolcampus. July 18to celebratetheseason’s first concertatanoutdoor Join theArtistic Directors, festival musicians, andfriendson 8:30 p.m., following theconcert Fête theFestival island lists ofmusiclovers: thebucolic“Trout”. concludes withaworkthatcommandstopspot onthedesert tory songsthathelpedlaunchSchubert’s career, theprogram the sameby genre Schubert.Aftershowcasing threerevela- passionate string quartets, echoedby anearlyexplorationin pay tributetoamajorinfluence,Mozart, withoneofhismost ing whichhecomposedsomeseven hundredworks. We will summarizes theamazingfirst decadeofSchubert’s career, dur violist, singer, composer, and conductor. Concert Program I immersed himselfinmusic from allangles:asviolinist and ofoneEurope’sthe tutelage most famousmusicians, he meister andtheteacherofBeethoven andLiszt.Comingunder auditioned forAntonioSalieri,theAustrian imperialKapell- On September 28,of seven, Franz 1804,attheage Schubert P Sunday, July 19, 6:00p.m., StentFamily Hall,Menlo School Arts atMenlo-Atherton Saturday, July 18, 6:00p.m., TheCenterforPerforming July 18and19 Genius Ignited, concert programi: rogram O verview 1811–1819

- Overture incminorforStringQuartet, D. 8a(1811) indminor, K.421(1783) J Scott bass Pingel, Quintet inAMajorforPiano, ,,, andBass, op. posth. 114, D. 667, Joélle Harvey, soprano; Jeffrey Kahane, , op. 32,D. 550(Schubart) (1817) INTERMISSION Nikolay Borchev, baritone;HyeyeonPark, piano Erlkönig, op. 1,D. 328(Goethe) (1815) Joélle Harvey, soprano; HyeyeonPark, piano WOLFGANG AMADEUSMOZART Gretchen amSpinnrade, op. 2,D. 118(Goethe) (October 19, 1814) Brook Speltz,cello Barnett-Hart,Escher StringQuartet: Adam AaronBoyd, ;PierreLapointe,viola; FRANZ SCHUBERT Brook Speltz,cello Escher StringQuarte effrey Kahane, piano;ArnaudSussmann, violin; SunmiChang,viola;Keith Robinson,cello; “Die Forelle” (“TheTrout”)(Autumn 1819) Finale: Allegro giusto Andantino (Tema convariazioni) Scherzo: Pr Andante Allegro vivace Allegro Allegretto manontroppo Minuetto: Allegretto Andante esto t: Adam Barnett-Hart,t: Adam AaronBoyd, violins;PierreLapointe,viola; (1797–1828) (1756–1791) *Bolded termsare defined intheglossary, whichbegins onpage94. ber 1,1785, accompaniedby thefollowing dedication: his own pupil.) knowledge ofcomposition.” (Suchpraisewas never given Beethoven, person orby name.He hastaste and,whatismore,themost profound you thatyoursonisthegreatest composer known tome,eitherin Mozart, Wolfgang’s father:“BeforeGod,andasanhonest man,Itell second ofthesereadings, Haydn famouslyremarked toLeopold turing thecomposerasviolist andwith Haydn inattendance. At the Each set ofthreewas first heardatMozart’s Vienna apartment,fea- three werecompleted between November 1784andJanuary 1785. “Haydn” Quartets between December1782andJuly 1783;thelatter nard Solomon. of Haydn’s but“extending theirimplications,” writesbiographerMay texture, set forthtoproduceanequivalentset ofsix—not inimitation form, thematicdevelopment, instrumental writing,andensemble tocome.Mozart,for generations enthralled by Haydn’s approachto to install themediumatcenter of thechambermusicrepertoire by theacknowledgedfatherofstring quartetwhichhelped genre encountered the six Opus 33 quartets of Joseph Haydn: seminal works the profoundest [experiences]inhisartistic life”in1781,whenhefirst Mozart enjoyed, accordingtomusicologist AlfredEinstein, “oneof Approximate duration:26minutes DonGiovanni,Nachtmusik, K.525(1787); K.527(1787) Violin andViola,K.424 (1783);Lenozze diFigaro (1786);Einekleine Majorfor for ViolinandViola,K.423(1783);Duono. 2inB-flat Symphony no. 35inDMajor, K.385, Haffner(1782);DuoinGMajor Other works fromthisperiod:Idomeneo,K. 366(1780–1781); First performance:January 15, 1785(seenotes below) Published: 1785, Vienna,asOpus10Number2 Composed: June 1783 String Quartet indminor, K.421 (Born January 27, 1756, Salzburg; diedDecember5,1791,Vienna) W Notes ontheProgramby Patrick Castillo Program Notes: GeniusIgnited, olfgang tinue in your generous friendship towardtinue inyourgenerous onewhoso highly escaped afather’s partial eye and,in spite of them, to con- you, however, tothosefaultsthatmay have tobeindulgent moment Isurrendertoyouallmy rightsover them.Ientreat kindly and be to them a father, guide, and friend! From this wholly unworthy ofyourfavor. Please,then,receive them you andleadsmetohopethat willnot considerthem sitions. Your me to offer themto opinion encourages good dear friend, expressed to me your approval of these compo- tection andguidanceofamanwhowas v great worldthoughtitishisdutytoentrust themtothepro- the timeandwho, moreover, happenedtobehis best friend. To my dearfriendHaydn, Mozart subsequently sent his six quartets to Haydn on Septem- Mozart composedthefirst threeofwhatbecameknown ashis children may oneday beasourceofconsolationtome. meandflattersencourages mewiththethoughtthatthese have given methatthistoilwillbeinsomedegreerewarded a longandarduouslabor;butthehopethatmany friends ebrated andvery dear friend. They are, indeed, thefruit of During yourlast stay inthiscapital,youyourself,m In like mannerI send my sixsonstoyou,most cel A fatherwhohaddecidedtosendouthissonsintothe A madeus M ozart

ery celebratedat y - - 1811–1819 Vln. II quartet’s openingtheme:atrill,turn,andthreerepeatednotes. that immediatelyfollows theaforementionedoctave descentinthe in dminor—but alsoby sheercompositionalcraft.Notice thegesture from theAndante, than as distinct utterances. They are unified by key signature—apart subtly shadedfacets ofarichlysingularexpressive statement rather in thesecondatopasteady 6/8 pulseinthelower strings. variation, setting syncopations inthefirst violinandrollingtriplets variations movement: witnesstherhythmic complexityofthesecond by her labor pains. The quartet concludes with a headytheme-and- gait withamoodychromaticism—inspired,accordingtoConstanze, movements whole. intoacogent note motif tobethegeneticcodeofentire quartet, unifyingitsfour blance totherepeatednotes ofthemovement’s openingmeasures. but aseeminglyinsignificant bitofpunctuation—yet bearingaresem- ¢ ° M menacing the first violinthatbeginsthefirst theme),restless syncopations, and withthenosedive in melodic leapsofanoctave ormore(beginning movement textural variety andexpressive nuance.Thedournessofthefirst not tosuggest,however, thatitsfourmovements donot offergreat unsettled, almost withoutrespite,frombeginningtoend.Thisis “Haydn” Quartets inaminorkey—is predominantlyanxiousand absence. they returned toVienna,theyfoundtheirinfantsonhaddiedin burg, leaving Raimundwithawet nursefromJuly toOctober;when moments. Sixweekslater, Wolfgang andConstanze traveled toSalz- alternately comforting her and then returning to his desk in calmer was atworkinthesame roomwhilehiswife,Constanze, was inlabor, to whatdegreeofbelievability, thereadermay decide—thatMozart son, RaimundLeopold,onJune 17, 1783. (It has even beenclaimed— worked onthisquartet inthedays leadinguptothebirthofhisfirst Quartet indminor, K.421,thesecondof“Haydn” set. Mozart considering thecircumstances surroundingthecompletion ofthe Vln. I ? B & & Vla. Vc. ozart’s father-son metaphor seemscuriouslyclosetohomewhen b b b b c c c c ¢ ° ? B & & œ œ œ Ó≈ est friend,yourmost sincerefriend. appreciates it.Meanwhile, Iremainwithallmy heart,dear But thesevariegatedmusicalcharactersarebetter understood as The first flowing barsofthe gently Andantereveal thisthree- A The characterofthedminorQuartet—the onlyoneofthe œ b b b b c c c c œ œ Allegro sotto motif appearsattheendofexposition—on first listen, itis ‰ ˙ ˙ ‰ œ œ œ œ sotto vo œ œ œ .. .. œ ce W. A.Mozart trills. The thirdmovement contrasts the vo œ œ œ œ œ ce œ Allegro moderato isanagitatedone,marked by wide œ œ . . œ Ÿ œ œ œ ‰ ‰ ˙ œ œ ™ œ œ œ ...... œ œ œ œ œ œ œ œ œ œ in therelative key ofFmajor, each movement is œ j œ .. Ÿ ‰ ‰ ˙ œ œ ™ ‰ ‰ ‰ J œ œ œ .. .. œ# J œ œ œ ‰≈ ™ ™ œ œ œ œ œ œ œ œ œ œ œ . . œ ‰ ‰ ˙ œ œ ™ œ œ œ .. . œ .. œ œ œ ‰ ‰ ‰ J œ œ œ J œ . œ œ œ ‰≈ j ™ ™ œ œ ‰ ‰ ˙ œ œ œ œ ™ œ œ œ .. œ œ œ# œ œ œ œ . . œ œ .. œ œ œ œ . œ œ œ . . œ# j j j J œ ‰‰ ‰‰ ‰≈ ˙ œ ‰ ‰ 1. cresc. œ œ œ .. .. ™ œ œ œ œ œ# minuet’s graceful cresc. cresc. cresc. œ œ# œn .. .. œ œ œ . . œ .. œ œ œ œ œ œ œ J œ œ œ ‰‰ ‰‰ ‰≈ J œ œ œ ŒÓ Œ‰ œ ™ œ œ œ# œn œ œn œ# œ œ . .. œ .. - œ œ œ œ œ J œ . œ œ Œ J œ ‰ ‰ ‰ œ# œ ™ ™ ™ ™ ™ ™ ™ ™

concert Programs concert Programs tion’s pinnacle. as itsfive siblings, moreforcefully asserts Mozart’s placeatthattradi- development ofarichmusicaltradition,thisdminorQuartet, aswell decades later.” Whileacknowledging Haydn’s foundationalroleinthe was not againreacheduntilBeethoven’s Quartets two ‘Razumovsky’ imbued it with a degree of subjectivity and intensity of feeling that Mozart’s “Haydn” Quartets and “permanentlytransfigured thegenre found knowledgeofcomposition”indeed.Solomonwritesthat the d minorQuartet demonstrates Mozart’s “taste and…most pro- Minuetto— essential partsof hismatureoutput.Theseearliest works betray the his first , he was aroundthirteenyearsold, include afour-hand pianofantasy, with Salieri. favorites.) Schubert alsobegantakingregularcompositionlessons Symphony no. 40 and Beethoven’s Symphony no. 2 became personal the orchestral worksofHaydn, Mozart, andBeethoven. (Mozart’s tion, givinghimtheopportunitytobecomeintimatelyfamiliar with student orchestra. Schubertjoinedtheorchestra’s second-violin sec- at theImperialandRoyalwhichboasted CityCollege, ahigh-level pelle choir. Perks ofthe positionincludedfreetuitionandboard pieces, and string quartets. this time,thechildFranz hadalreadybeguncomposingsongs, piano it fromGodhimself.” Schubert’s brother Ferdinand reportsthatby organist Ruzicka,despaired,“Icanteachhimnothing, hehaslearnt alwaysHolzer knewitalready.” said, “he Another teacher, thecourt Iwishedto impart something newtohim,”young student. “Whenever church theSchubertsattended. Holzer was dumbfoundedby his his father and music theory with Michael Holzer, the organist at the himcompetentjudged tosingatservicesintheimperialHofkapelle. impressed withSchubert’s gifts—inparticular, hissingingvoice—and ter andoneofVienna’s most celebratedmusicalfigures. Salieri was auditioned for Antonio Salieri, the Austrian imperial childhood andadolescence.Whenhewas seven yearsold,Schubert fourteen yearsold,documentsthecomposer’s remarkablemusical The Approximate duration:9minutes Other works fromthisperiod:Detailed inthenotes below Published: 1970 Composed: afterJuly 12,1811(orig.forstring quintet: June 29, 1811) Overture incminorforStringQuartet, D. 8a (Born January 31,1797, Vienna; diedNovember 19, 1828,Vienna) F —and appear, intriplicate,atopthethemeoffinale. ¢ ° & & ? B & & ranz b b b b b b 4 3 6 8 Allegro manontroppo Allegro 6 6 6 6 8 8 8 8 Andante f p p p p p œ œ J œ J œ œ œ j Overture incminor, composed in1811,whenSchubertwas just j j ™ In its intricacies and, more broadly, its overall emotive import, The threerepeatednotes likewise markthecentralmelodyof Schubert’s earliest survivingcompositions, datingfromwhen In 1808, SchubertauditionedforandwonaplaceintheHofka- The following year, Schubertbeganstudying theviolinwith ‰ ‰ ‰ ‰ œ Ÿ œ J œ J œ œ œ ™ j j œ œ œ œ œ S œ# ™ ™ ™ œ œ œ chubert œ and other andformsthatwould become worksingenres œ œ ™ œ œ œ œ ™ œ Ÿ J œ œ œ œ j œ œ œ œ œ J œ œ œ j‰ j j œ Ÿ œ# ‰‰ ≈ ‰‰ ™ œ# mf œ œ ‰ œ œ

œ œ œ œ ‰≈ Œ‰ œ j j ≈ œ mf ‰ œ œ œ œ œ œ œ œ ∑ œ œ ‰≈ œ œ œ œ .. .. J œ fp mf œ œ œ œ œ ‰ œ œ œ p p J œ œ J œ J œ j œ ‰ ‰ ‰ ‰ œ ™ J œ J œ œ J œ J œ j œ œ œ œ œ ‰ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ Kapellmeis- œ œ œ ™ Ÿ Ÿ œ œ œ œ œ œ J œ œ œ œ J œ œ œ œ j‰ j j ‰ ‰‰ ≈ ‰‰ œ œ œ j ™ œ ‰ œ œ

a period of fierce creativity that lasted more than a year. During this how itwas suddenlyrevealed tohimandpenetrated hisvery depth?” not remember how thismusicmadealong-familiar poemnewforhim, fortunetohearsomeofhisgreatestthose whohadthegood songsdoes songs isinrealityapoemonthe poemheset tomusic…Who among hestandscategory unexcelled, even unapproached…Every oneofhis best summarizedSchubert’s asacomposeroflieder:“Inthis legacy “Prince ofSong.” Thecomposer’s friendJosef von Spaunperhaps beyond. Theyarehislegacy, rightlyearninghimthesobriquet the and primary importancefor composers of theRomantic generation transforming itfromsimple,domestic fareintoamusicalformof even contradicting thewordsbeingsung. with thevocal writing andrelatetothetext, illuminating orattimes but alsoinhisimaginative pianoaccompaniments, how theyinteract his melodicsensibility—which, ofcourse,isonehissupremegifts— tion.” Schubert’s penetrating sensitivitytotext isreflectednot onlyin because they contain so many layers of meaning and stylistic intersec- but inevitable…Schubert’s songscanwithstand theclosest scrutiny ability tofusepoetry andmusicin ways thatseemnot onlyunique and werecherishedby allwhoheard them. the songs for voice and piano were frequently performed—primarily at much ofSchubert’s musicwentunrecognizedduringhislifetime, his represent hismost significant contributiontotherepertoire.While six hundredandset texts by morethan150poets—unquestionably notwithstanding,genre Schubert’s lieder—whichnumbermorethan His magnificent accomplishmentsinvirtuallyevery other musical Approximate duration:9minutes Piano, D. 574, “Duo”(1817) B Major, op. posth. 147, D. SonatainAMajorforViolinand 575(1817); D. 557; no. 6ineminor, D. Major, 566;no. 7inD-flat D. 567; andno. 9in no. 3inDMajor, D. 200(1815); PianoSonatano. 5inA-flat Major, (1814–1815); Piano Sonatano. 1inEMajor, D. 157(1815);Symphony op. 168, D. 112(1814); Symphony Major, no. 2inB-flat D. 125 Major,Other works fromthisperiod:StringQuartet inB-flat Opus 1 Published: Gretchen amSpinnrade: 1821,asOpus2;Erlkönig: 1821,as Die Forelle: 1817 Composed: Gretchen amSpinnrade: October19, 1814; Erlkönig: 1815; D. 328(Goethe); DieForelle, op. 32,D. 550(Schubart) Gretchen amSpinnrade, op. 2,D. 118(Goethe); Erlkönig, op. 1, F into bloom. but moreover reveal amusicalimaginationthatwouldsooncomefully competent integrationoftheformalmodelshisClassicalforebears section andrecapitulationnot onlytestifycomposer’s totheteenage ness ofthismusicwitharustic lyricism.Asure-handeddevelopment Haydn andMozart. Thesecondtheme,inA-flat major, foilsthestern- section—music reminiscent of the minor-key chamber works of lin introducesthegallopingthemeaspieceentersitsmainAllegro quartet. of the samework, Schubert made a separate arrangement for string larized by Mozart’s six viola . Shortly after completing the for string quintet—string quartetpopu- withanaddedviola—agenre popularinViennaduringthistime. whose comicoperaswerehugely clear influenceofHaydn, Mozart, andBach, as wellofRossini, ranz Schubertiades, intimateaffairscenteredonSchubert’s music— The fall of 1814 launched the seventeen-year-old Schubert into Schubert’s innovations to the art song elevated theentire genre, Robert Winterhaswritten, “Schubert’s uniquenesslay…in his The Overture beginswithasomberintroduction.Thefirst vio- Schubert originallycomposedtheOverture incminorasawork S chubert

and enthusiastically received.” Schubert’s, andthere,onthevery same evening, theErlkönig was sung the paper. We ranwithittotheseminary, fortherewas nopianoat as quicklyyoucanwrite),therewas thegloriousballadfinished on times withthebook,suddenlyhesat down, andinnotimeatall(just studying Goethe’s text. Spaunrecalls, “He pacedup and down several ation. Spaunarrived atSchubert’s hometofind thecomposerclosely uncanny genius. Josef von Spaun recalledwitnessingthesong’scre- rator. distinguished Eachisingeniously by itsown musicalcharacter. four of the poem’s voices: the father, theson, the Elf-King,and the nar paniment providing a cinematic backdrop, manifests the singer all The fatherarrives hometofind that his sonhasdiedinarms. wind, thenighttime shadows. Butfinally, theElf-Kingattacks theboy. to lurehimaway; theboy’s fatherassureshimthatit’s onlythefog, rified, seesandhearsasupernaturalbeing—theElf-King—attempting horseback through the nightwithhis father. As they ride, the boy, ter poem by Goethe whichtellsthestory ofayoungboy ridinghomeon earliest breakthrough Thesongsets worksintheartsonggenre. a Elf-King), accompaniment serves asoneoftheprotagonists.” ing dramatictrajectorythatunitesthewholebutspinning-wheel Spinnrade…Not onlydoitsfreelymodified strophes traceamount- prepared Schubert’s admirersforhisbreakthrough lied,Gretchen am lin schoolorinthesongsofHaydn, Mozart, orBeethoven couldhave the Germanlied tation. depictsbothwhich ingeniously thespinningwheelandGretchen’s agi- ning wheel,fixating onFaust’s promises: October of 1814. The text portrays a young woman, seated at her spin- Gretchen amSpinnrade (Gretchen attheSpinningWheel),composedin sion ontheyoungcomposer. Schubert’s first setting ofGoethe was time. One of these was Goethe, whose for workthatdidnot survive. than sixty-five measuresofmusiceachday, withouteven accounting and morethan150songs;ithasbeencalculatedthatheaveraged time, hecompleted twostring quartets, twosymphonies, twomasses, brook andthetrout’s slippery elusiveness. Schubert’s pianoaccompanimentvividlydepictsboth thebabbling bart. Thepoemdescribesatrout’s effortlessescapefroma fisherman. (The Trout), a setting of a poem by Schubert’s friend Christian Schu- The lieder The conception ofErlkönig In Schubert’s remarkablesetting, withthethrillingpianoaccom- Alongside Gretchen amSpinnrade iswidelyconsideredtomarkthestart of Swirling aboutthevocal lineisthesong’spianoaccompaniment, Is bitter tome. The wholeworld That isthegrave, Where Idonot have him, shall Ifind peace. Never, butnever again, My heartisheavy; My peaceisgone oflieder,In thecategory Schubertobsessedover onepoet ata composed in1815, set onConcertProgramIconcludeswithDieForelle Gretchen amSpinnrade, Schubert’s tradition. RobertWinternotes: “Nothing intheBer also representsoneofthecomposer’s further illustrates Schubert’s Faust had made a huge impres- had made a huge Erlkönig (The - - - the march’s Dmajorcadencetothesavory warmth ofA-flat—a dramatic batim, butindifferent keys. Thereturn totheopening sectionshiftsfrom whisper, utterly devoid ofmartialpomp. melody follows attherhythmic gaitofamarch, butitisvoiced inagentle piano, anddotted-rhythm highlightsintheviolin.AcontentedDmajor minor, accompaniedby asteady pulseinthebass, delicatetriplets inthe cello tocroonthemovement’s secondtheme,atendermelodyinf-sharp ears fromonemomenttothenext. Witnessthecombinationofviolaand features furthertextural ingenuity, asrichsonoritiesshiftbeforeour graceful serenity. The movement, comprisingthreethemes, moreover phony—extends thefirst movement’s idylliccharacter, slowed toa associated withpastoral settings, asinBeethoven’s “Pastoral” Sym- its bucolictemperament. development section intheClassicaltraditionbutnever strays farfrom long-breathed duet between violinandcello. Themovement featuresa ticularly forfreeingthecellotosoar, asinthesecondthemeEmajor—a moment inthesun.Theinclusionofdoublebassisnoteworthy, par ing is equally rich, full of textural variety and giving each instrument its Befitting the movement’s melodic abundance, Schubert’s ensemble writ- fewer thanfive distinct melodicideas, eachabroadlyopen-armedtune. movement ismarked most ofallby itsmelodicgenerosity, featuring no first theme,anutterance disarmingly warm andbright.Asitproceeds, the conversation among the strings prefigures the opening workswouldbethosecompleted inhisthirty-first“late” year. Schubert’s qualities, whose tothefierce precocityofthemusicalgenius most beloved worksofthe chamberliteraturetestifies, amongothers of cable craftsmanship. Thatthe“Trout”Quintet hasenduredamongthe character ofitsmusicalcontent.Itsaffability, inturn,masksitsimpec- vast thefoundationlaidby range, the doublebass—beliestheintimate piano partheplayed himself,withouthaving written down anote. full scoreandset immediatelytopreparing theindividualstring parts;the having fullyconceived thenewworkin hishead,forewentwritingoutthe rush tosatisfy Paumgartner’s request intimeforhisnext soirée,Schubert, ner’s request thatthenewquintet includeaset ofvariationsonDieForelle. Opus 74 Septet forPiano, Winds, andStrings).Itwas likewise Paumgart- of piano, violin, viola, cello, of his and (actually an arrangement d minorofJohann NepomukHummel,scoredfortheunusualcombination for oneoftheseaffairs, specifically, aquintet tocomplementtheQuintet in On theirvisit,Paumgartner requested thatSchubertcomposeanewwork hosted chambermusicgatheringsathishomewithother amateurplayers. wealthy patronandamateurcellist, Sylvester Paumgartner, whoregularly Vogl. Onastop inthesmalltown ofSteyr, SchubertandVogl visitedwitha of 1819, whilevacationingin northern Austria withthebaritoneJohann Forelle” (“TheTrout”)afterhisliedofthesame name,duringthesummer Schubert composedhismasterly PianoQuintet inAMajor, subtitled “Die Approximate duration:35minutes op. 34,D. 675 (1819); Quartettsatzincminor, D. 703(1820) op. 153, D. 676 (1819); Overture inFMajorforPiano, Four Hands, Orchestra, D. 647(1818–1819); inAMajor, Salve Regina(Offertorium) Zwillingsbrüder, TheatricalWork forVoices, Mixed Chorus, and Four(1817); Polonaises forPianoDuet, op. 75, D. 599(1818); Die Other works fromthisperiod:DieForelle,op. 32,D. 550 First performance:Detailed inthenotes below Published: 1829, asOpus114 Composed: 1819 op. posth. 114, D. 667, “DieForelle” (“TheTrout”) Quintet inAMajorforPiano, Violin,Viola,Cello, andBass, F ranz The secondhalfofthemovement repeatsthefirst, essentiallyver The secondmovement Andante—inFmajor, akey traditionally Following acheerfulascendingflourishinthepiano, anamiable The quintet’s pseudo-orchestral instrumentation—the piano’s testifying toSchubert’sAdditionally genius, thestorythat,ina goes S chubert Allegro ’s vivace’s - - concert Programs concert Programs { { end, by anearthy bellow inthedoublebass. This ismusicofbrazen,bawdy fun,accented,nearthescherzosection’s ment, butithasanirrepressibleenergypacked intoitsminiatureframe. outburstvigorous tolaunchthescherzo—itisquintet’s shortest move- ance ofthepacifist marchbringsthemovement backtothehomekey. between violaandcelloisreprisedintearfulaminor, and thereappear shift inatmosphereaccentuatedby theharmonicremoteness. Theduet ¢ ° ¢ ° ?# & ?# B & ?# & ?# B & # # # # # # # # # # # # # # # # Schubert joltsthelistener out of thesecond-movement reverie witha # # # # # # # # # # # pp œ œ œ œ œ œ œ# œ# ˙ ˙ œn œnœ œ ...... ™ ™ Œ Œ ŒŒ ŒŒ œ œ œ œ œ œ œ œ ∑∑ ∑∑∑∑ ∑ Œ Œ œ œ œ œ > > œb œ œ œn . > . œ œ œ œ œ œ œ œ œ ˙n ˙n œn œnœ œ ...... ™ ™ Œ Œ œ œ œ œ œ œ œ œ ∑ Œ Œ œ œ œ œ > > œb œ œ œn . > . œ œ œ œ œ œ œ œ ˙ ˙ œn œnœ œ ...... ™ ™ Œ Œ ŒŒ ŒŒ œ œ œ œ œ œ œ œ ∑∑ ∑ Œ Œ œ œ œ œ > > œb œ œ œn . > . f f sf œ ˙n ˙n œn œn œnœ œ œ ™ ™ œ œ Œ ŒŒ ŒŒ œ ∑ ∑ ∑∑ œ œ Œ œ pp pp pp pp Œ‰ Œ‰ œ œ œ œ# œ œ œ œ # Œ Œ œ œ œ œ Œ Œ f f œ œ ∑ ∑ . . œ œ œ œ Œ Œ Œ Œ œ œ . . œ œ . . -

at abuoyant secondmusicalidea,reminiscent oftheDieForelle melody. rustic centralthemefollows. Aneffortlessextension ofthisthemearrives from thepreviousmovement’s lullaby-esque ending.Themovement’s { struck piano accompanimentusedintheoriginallied. and final variationreturns tothethemeinitsinitialform,now featuringthe sun; Schubertsets thethemelanguidlyincello’s Thesixth tenorrange. rential rains, thebittersweet ofthe fifth variationsuggeststhereemergence peacefully inFmajor, thepastoral key oftheAndante.Asiffollowing tor d minor. Butthecloudspassasquicklytheycame,andmelodyends theme, asthemusicexplodeswithcrashingfortissimochordsinstormy assigns themelodytocelloanddoublebass, lendingitanewtimbre. paniment pattern gives way tothirty-second notes inthepiano. Schubert excitement intensifies inthethirdvariation,astriplet-based accom- takes over thetune,andviolinoffersashimmeringcountermelody. The ornaments indialoguewiththeviolin.Infollowing variation,theviola ing octaves, thecelloluxuriatesinitsrichupperregister, uttering graceful the harmonicfoundationandpianopresentsthemeinglimmer approach toinstrumental writing:inthefirst variation,asthebassprovides composer’s technique. But here, too, we encounter Schubert’s thoughtful coming and unassuming as to perhapsobscurethesophistication of the the quintet’s fourthmovement conjureanArcadianparadise—sowel ¢ ° & ?# & ?# B # # # # # # # # # # # # # mf mf mf mf The affablefinal movement beginswithasinglerecurringbelltoll, The fourth variation offersthemost drastic transformationof the The themeandset ofsixvariationsonDieForelle thatcompose . œ J œ œ œ œ œ# ™ fortepiano fortepiano ‰ œ# # . > > œ J œ œ œ œ œ Œ ™ ™ ‰ . œ œ . œ J œ œ œ œ œ ™ œ# ‰ œ# œ ∑ œ J œ œ œ œ Œ by thepiano, viola,andcello, asiftorousethelistener ™ œ ‰ œ œ . ˙ J œ œ œ œ ˙ ™ ‰ œ ∑ . J œ œ œ œ ™ ™ ‰ . œ œ œ J œ œ œ œ œ ™ ‰ œ ∑ Œ œ J œ œ œ œ ™ ‰ œ sf . œ J œ œ œ œ Œ œ ™ ‰ œ n . > Œ Œ J œ œ œ œ œ œ ™ ‰ . œ J œ œ œ œ 33 œ ‰ œ œn ∑∑∑ ∑∑∑ n J œ œ œ œ œ Œ œn ‰ œ œ . J œ œ œb œ ˙ œ ‰ œ n . J œ œ œ œn œ ™ œ ‰ œb . œ J œ œ œ œ œ œ# ‰ œn n J œ œ œ œ œn Œ œ ‰ œ - - -