bpk Berlin/Art Resource, NY Apollo andDaphne, 1771. Johann Heinrich TischbeintheElder(1722–1789). Harold andJan Thomas July 26: Dave andJudith Preves Andersonandalsoto Elizabeth Wright July 25: BillandBridgetCoughranalsoto support: ing individualswithgratitudefortheirgenerous Music@Menlo dedicatestheseperformancestothefollow- SPECIAL THANKS music literature. and Strings, oneofthegreatest masterpieces ofthechamber response toBeethoven’s : hisepicOctet forWinds pianists. TheprogramconcludeswithSchubert’s fitting “Wanderer” Fantasy, tackled only by history’s most intrepid quest ofthepianoinhistourdeforce keyboard workthe the lied in a pair of exquisite songs, and his fearless con- Sonata forArpeggioneandPiano, hisunbroken mastery of virtuoso idiom is convincingly demonstrated in his brilliant manifested inConcertProgramIII. Hiscommandofthe poser ofsignificant instrumental worksisspectacularly Schubert’s determination tobecomeanacclaimedcom- P Sunday, July 26, 6:00 p.m., StentFamily Hall,Menlo School Arts atMenlo-Atherton Saturday, July 25, 6:00 p.m., TheCenterforPerforming July 25and26 Metamorphosis, concert programiii: rogram O verview 1822–1824 Sonata inaminor, D. 821,“” (November 1824) Arnaud Sussmann,;PierreLapointe,;DmitriAtapine, ;Scott bass Pingel, Alexander Fiterstein, inFMajorforWindsandStrings, op. posth. 166, D. 803(February–March 1,1824) FRANZ SCHUBERT INTERMISSION Juho Pohjonen, Fantasy inCMajor, op. 15, D. 760, “Wanderer”(November 1822) Nikolay Borchev, baritone;Juho Pohjonen, piano op. (“Ich kommeher”), vom Gebirge 4,no. 1,D. 489 Abendstern, D. 806(Mayrhofer) (March 1824) P aul Neubauer, viola;Juho Pohjonen,piano (Schmidt von Lübeck)(1816) Andante molto–Allegro Minuetto: Allegretto Andante Scherzo: Allegr Adagio Adagio –Allegro Allegro confuoco, manontr Allegretto Adagio Allegro moderato ; Peter Kolkay, ; Kevin Rivard,; o vivace (1797–1828) oppo –AdagioPresto –Allegro Sean Lee, Sean Lee,

concert Programs concert Programs { *Bolded termsare defined intheglossary, whichbegins onpage94. Alps. completes ofSchubert’s thefigure, conjuringimages beloved Austrian one ofthecomposer’s favorite poetic images. Ayodelingoctave leap moments from Schubert’s lieder illustrating the serenity of a brook, The sixteenth-note pattern ofthesecondthemeresemblesnumerous the buoyant secondtheme melodic line;alively transitionfromthisplaintive openingmelodyto ta’s openingAllegro moderato. Themusicbeginswithalong,somber polarity can be heard in the unabashed contrasts inmood of the sona- pain. Andagain,whenItriedtosingofsorrow, itturnedtolove.” This Iattempted tosing oflove,Schubert wrote, “Whenever itturnedto being ranked amonghisgreatest works. Schubert, and it is worthyto befoundin the sonataarevintage of superb sensitivitytoitstimbre.Themelodiesandharmonictextures Schubert was aquickstudy ofthenewinstrument andwrote with an expressive, speech-like quality, especiallyinitsupperregister. acrobatics requiredonthecelloandviolainmodernpractice. be played easilyacrossthestrings inoneposition,avoiding themanual sus theviola’s andcello’s four, allowed forcertainvirtuosicpassagesto Itssixstrings,arpeggione infacthadasignificantly widerrange. ver (the onlysignificant workintherepertoireforinstrument), the instrument inperformancestoday ofSchubert’s “Arpeggione” Sonata marily theviolaandcello—frequentlyfill inforthisnow obsolete that itmost resembled.Thoughmore standard instruments—pri- Georg Staufer;itwas alsoreferredtoasabowed , theinstrument instrument invented in1824 by theVienneseguitarluthierJohann The Approximate duration:28minutes Four Hands, D. 812;andtheOctet forWindsandStrings, D. 803. Maiden” StringQuartet, D. 810;the“Grand Duo”SonataforPiano, of masterworks forsmallerforces, includingthe“Deathand Other works fromthisperiod: Theyear1824 saw anexplosion the . existmodern arrangements forinstruments rangingfromthecelloto fashion. Thefirst publishededitionincludedanalternative cellopart; Published: 1871, by whichtimethearpeggionehadfallenoutof Dedication: VincenzSchuster Composed: November 1824 inaminor,Sonata D. 821,“Arpeggione” (Born January 31,1797, Vienna; diedNovember 19, 1828,Vienna) F Notes ontheProgramby Patrick Castillo Program Notes: Metamorphosis, Arpeggione ? & & ranz Piano J œ ‰ œ arpeggione (ar-pej-ee-oh-nay) was abowed, fretted six-string In ashortworkofproseentitledMeinTraum (My Dream), Similarly totheviolaandcello, thesoundofarpeggionebore œ# { ‰ œ œ œ œ ? & & j S œ chubert pp pp ‰ J œ œ J œ ‰ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ j j œ œ ‰ J œ œ ‰ J œ œ œ œ ‰ œ œ œ œ j ‰ œ œ œ œ œ j

œ œ œ ‰ j transforms themusicfromtragictoidyllic. œ ‰ J œ œ ‰ œ œ œ œ œ j œ ‰ œ œ œ œ j œ œ ‰ œ j œ ‰ œ œ œ 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 . 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 œ . > œ œ œ . œ œ œ œ œ . œ œ œ . œ œ - 1822–1824 beautiful star.” of theascendingmelodiccontour onthewords“oschönerStern”—“o ornaments thatleanintothenext note. Note alsothepiercingquality thelineforward—melodic the dissonantappoggiaturasthat urge melodic setting likewise probes the text: particularly expressive are Schubert surroundstheselines withsearchingharmonies. The addressing alonestarbegins withthesinger inevening sky. poem by thecomposer’s friendJohann Baptist Mayrhofer. Thesong Schubert’s Approximate duration:8minutes Octet forWindsandStrings, D. 803(1824) (1824); “Grand Duo”SonataforPiano, Four Hands, D. 812(1824); Cello, D. “DeathandtheMaiden”StringQuartet, 581(1817); D. 810 in gminor, D. MajorforViolin,Viola,and 408(1816);TrioinB-flat and piano:no. 1inDMajor, D. 384;no. 2inaminor, D. 385;andno. 3 Other works fromthisperiod:Opusposth. 137 sonatinasforviolin Published: Composed: Abendstern:March1824; Der Wanderer: 1816 D. 489(G. P. von Lübeck) Schmidt D.Abendstern, 806(Mayrhofer); DerWanderer, op. 4,no. 1, F brief codaendsthemovement onasolemnnote. to moreintroverted ends. Following astandard recapitulation, had offeredthelightheartednessofexposition, quickly darkens again,andtherambunctioussecondtheme,which the viola(theinstrument heardontonight’s program).Themood in opening themeinFmajorthepiano, accompaniedby pizzicati ter forafinal statement ofthetheme. sonata closesquietly, withtheviolareachingintoitsuppermost regis- inserts asecondepisode,evocative againoftheAustrian Alps. The movement’s mainsections. At thecenterofmovement, Schubert den yet seamlesstransitionsfromagitation tolyricismbetween the are similarlybipolarbutonasmallerscale—as, forinstance, inthesud- main themes. Schubertincludesdeliciousmomentsthroughoutthat in minor, recalling thecontrasting charactersofthefirst movement’s opening subjectalternateswithcontrasting sixteenth-note episodes ground andleadingdirectlyintothethirdmovement Allegretto. the bottom oftheviola’s tothetop, range beforereturning tomiddle waltz. Adelicatecadenzaarcsupwards asiftracingarainbow, from suddenly stops, andtherhythmic motion doublyslows intoadrugged passing fromdrowsiness intosleep. Theeighth-note accompaniment through the movement, the music enters into another world,as if colored by newharmoniesinthepianoaccompaniment.Midway lyricism. Longsustained notesinflection, intheviolaseemtochange ment owes equallytoitsravishing harmoniesandtoitsmelodic ranz The of yourbrothers shunyoursight? why doesthesparklingcrowd o beautifulstar? andyouaresomild; Why aloneinthesky, doyoulinger The meditative tenderness of the gentle AdagioThe meditative tendernessofthegentle The sonataconcludeswithadelightfulrondo. Theamiable development sectionbeginswithasunnierstatement ofthe S Abendstern (The Evening Star), chubert Abendstern: 1833;DerWanderer: 1821,asOpus4Number1 composed in 1824, sets a is now exploited second move- a { { { major. derer now gladdenedby thoughtsofhome,themusicremainsinE galloping 6/8 time. inmoodwithashifttoEmajorand Schubert highlightsthechange land. remembershisbelovedThe musicturnsbrightasthesinger home- intones: The paceoftheliedslows asthesinger WinterreiseJourney). immortal songcycle (Winter in 1826;two Wandrers NachtliedIandII;DerWanderer andenMond,composed throughout hislife.ThesameinspiredtwoGoethe image settings, and hisexistential desolationwas onethatresonatedwithSchubert song duringhislifetime,ofalonelywanderer anditscentral image Schmidt. bypoem “Ich the German poet komme her” vom Georg Gebirge away fromLove”—is magicalanddevastating. as theevening star replies:“Iamthestar oftruelove, andtheykeep far ? & & ? & & ? & & mild;w 4 4 4 3 3 3 # œ œ œ ˙ œ œ Ziemlich langsam p pp œ œ œ œ ‰Œ ™ œ œ ... The songreverts to itsinitialintrospective tempo—but,thewan - That land,wheremy rosesbloom… That land,sohopefullygreen, Sought andbroughttomind,yet never known, Where areyou,my dearland? I amastrangereverywhere. And whattheysay hasanempty sound; The flowers faded,thelifeold, The sunseemssocoldtomehere, And my sighsalways ask“Where?” I wander silentlyandamsomewhatunhappy, The valleydims, thesearoars. I comedown fromthemountains, Der Wanderer beginswithabroodingrecitative. Schubert’s liedDerWanderer (TheWanderer) of1816sets the What Schubert accomplishes in the next six measures of music— œ œ œ œ œ œ œ œ œ ŒŒ ∑ œ œ œ œ .. œ œ œ œ œ œ ŒŒ œ œ œ œ œ Der Wanderer Erlkönigrivaled as Schubert’s most popular # œ œ œ œ œ œ œ œ œ œ œ œ . ™ ™ ™ ™ ™ ™ ™ œ œ # ‰ songs both entitledDerWanderer; and,ofcourse,the j œ œ œ œ œ ,c bind ,,Ich ∑∑ ™ œ œ J œ œ œ œ œ œ œ J œ ‰ J œ œ J œ # œ œ œ œ œ œ œ œ œ J œ œ œ œ œ J œ ar - œ œ œ œ œ um œ œ œ œ J œ# œ œ œ œ J œ rLebe Lie er ˙ ˙ ˙ ˙ ˙ entf œ œ œ œ J œ ™ ™ ™ ™ ™ œ œ œ#œ œ œ ™ ™ ™ ™ ™ ™ n rtdsfnkeln fun das ernt œ œ œ œ œ - ™ ™ ™ ™ ™ œ œ œ œ œ J œ ruer treu # Œ‰ œ œ œ œ œ œ J œ œ œ J œ œ œ œ œ œ J œ# ™ ™ ™ ™ ™ œ - œ œ œ œ R œ œ œ œ#œ J œ Wa - pp œ œ œ œ œ œ œn R œ j sw œ œ œ#œ œ tr,sehlten hal sie Stern, - ™ ™ de is uensam ein du eilst œ œ œ œ R œ œ œ œ œ J œ # œ œ œ J œ# ewim Ge œ R œ œ œ œ œ œ œ œ œ œ œ J œ - j œ b n œ œ œ œ œ œ œ œ œ œ J œn ™ ™ ™ ™ œ œ œ œ œ - - mel ™ ™ ™ ™ ™ œ J œ œ œ œ œ œ œ - j œ derB sichv œ œ œ œ J œ œ œ J œ œ œ œ œ œ œ œ œ ™ ™ ndmHmmel, Him dem an œ œ œ œ J œ œ œ œ œ J œ ™ ™ ™ ™ rü - der nLebe Lie on œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ J œ œ j # œ œ œ œ œ œ œ œ œ œ œ œ œ sich œ œ œ œ œ j - ™ ™ ™ ™ ™ ™ - œ J œ œ œ œ# œ œ œ J œ œ# œ# vo œ œ# j œ œ œ œ œ J œ œ nd œ œ œ œ os fern." œ n j œ œ œ œ œ œ œ œ œ œ J œ œ inem ei chön J œ œ œ œ œ ™ ™ ™ ™ ™ - œ ™ œ œ œ œ œ œ J œ - œ œ œ œ pp œ œ œ œ ‰Œ œ R œ Bild? er # œ œ œ œ œ ˙ œ œ œ tr?udbs so bist und Stern? ™ ™ ™ ™ ™ œ ˙ ˙ ˙ ˙ œ œ #

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{ { { { { { gentler secondtheme— gentler robust openingtheme. organically intothenext. Aheadstrong dactylic rhythm powers the daunting athleticism requiredby thework.Eachmelodicidealeads bravura characterrightaway. Butaformaleleganceaccompaniesthe fantasy, marked Allegro in hisown right,apparentlycouldnot play it.Thefirst sectionofthe Schubert’s worksforpiano;thecomposerhimself,askilledpianist it andeven orchestrated it. The work heldgreat appeal for Franz Liszt,whofrequently performed “Wanderer” Fantasy has a rhapsodic flair that is fantastical indeed. tional fantasy (i.e.,free-form,semi-improvisational genre works),the testifies toasovereign lyricsensibility.” of instrumentalHis infusionofactualsongsinto a widerange works Schubert usually preferred a more leisurely and expansive approach. tended toexploreexhaustively thepossibilitiesofsmallmotives, distinguishing feature of his instrumental works. Whereas Beethoven inwhichhecomposedandisofcoursea cism permeatesallthegenres Christopher habit, “Schubert’s H.Gibbswritesofthisrecycling lyri- priated anearlier lied formal structure. Itisoneofmany instances whenSchubertappro- derer of1816. movement bearsathematicconnectiontoSchubert’s liedDerWan- work.Each intoonecyclic without pause,areessentiallymerged architectural imagination:itsfourmovements, played continuously piano sonata.Indeed,itsstructure representsanaudaciousfeatof distinct movements, couldequallywellbeunderstood asafull-length dererfantasie” (alabelnot bestowed by thecomposer),withitsfour Though classified asafantasy by thecomposer, Schubert’s “Wan- Approximate duration:22minutes music) (1823);Symphony no. 8inbminor, D. 759, (1822) “Unfinished” (1822); Rosamunde,Fürstin von Cypern, op. 26, D. 797(incidental Other works fromthisperiod:Tantum ergo inDMajor, D. 750 Published: 1823, asOpus15 Composed: November 1822 Fantasy inCMajor, op. 15, D. 760, “Wanderer” F from whichathirdthemelaterunfurls. —whose secondmeasure,inturn,introducesthethree-note gesture old, /Andwhatthey say hasanempty sound; /Iamastrangerevery “The sunseems socoldtomehere,/Theflowers have faded, thelife ber centralsectionofthelied, allusion toDerWanderer. Itcomprisesaset ofvariationsonthesom- { { { 112 112 47 112 47 47 ? & ? & ? ? & ? & & ? ? & & ? & ? & ranz c c c c c c Allegro confuoco Allegro confuoco Allegro confuoco Allegro # # # pp pp pp œb œ œb œ œb œ ff ff ff > > > ˙ ‰ œ ˙ œ# ‰ œ œ# ˙ ‰ œ œ# Æ Æ Æ > > > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œb œb The This same rhythmic idea,now cast inasofterlight,alsobeginsthe The pieceisarguablythemost technically demandingof Although itstightlywroughtdesignsets itapartfromthetradi- The “Wanderer” Fantasy’s musical character is as inspired as its 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 œ œ œ œ œ œ œ œ œ œ œ œ œ > > > œ œ œ œ œ œ œb œb œb œb œb œb Adagio secondmovement presents thefantasy’s most literal S ™ ™ ™ 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 ‰ œ œ ˙ ‰ œ œ œ œ œ chubert 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 œ ™ ™ ™ , manontroppo , manontroppo , manontroppo œ œ œ œ œ œ œ œ œ Æ Æ Æ 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 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 œ œ œ œ œ œ œ œ œ œ# œ œ# œ œ# w# ‰ w# ‰ w# ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j j j œ œbœ œb œ œb J œ œ œ œ œ œ œ J œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j j j j j j in his instrumental composition. Biographer œ œ œ con fuoco,manontroppo, establishes itsbig, œ œ œ ‰Œ ‰Œ ‰Œ œ œ œ œb œ œb œ œb œ Æ Æ Æ œ œ œ Ó Ó Ó œ œ œ œb œb œb œ# œ# œ# œ œ œ œ œ œ œ œ œ in whichSchubertsets thelinesofverse: œ œ œ œ œ œ ...... œ œ œ > > > œb œb œb œb œb œb 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 œ œ œ œ Æ Æ Æ ™ ™ ™ > > > Ó Ó Ó 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 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 œ œ œ œ œ œ œ œ ™ ™ ™ œ œbœ œb œ œ œ œb 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 œ# œ œ# œ œ# œb œbœn œn œb œn Æ Æ Æ # # # œ œ# œ œ# œ œ# w#‰ w#‰ w#‰ œb œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # # ' ' ' ' ' ' œ œ œ œb œ œb œ œb œ œ œ œ#œ œ œ# œ œ œ# j j j œ œ œ œ œ œ œ œ œ œ œ œ > > > œ œ œ œ œ œ Ó Ó Ó Ó Ó Ó œ œ œ ™ ™ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j j j j j j œ œ œ ‰Œ ‰Œ ‰Œ ‰Œ ‰Œ ‰Œ œ œ œ ÆÆ ÆÆ ÆÆ

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concert Programs where.” The extended version of that passage presented here, as grim expected. Much of the work is driven by spirited dialogue between as in the lied, percolates into rhapsodic material. the clarinet and first . But Schubert’s deft handling of his instru- The subdued note on which the Adagio section ends points mental forces extends to the full ensemble. Throughout the Octet, abruptly towards the animated Presto. This section, analogous to the Schubert subtly uses each instrument’s particular timbre to imbue his scherzo movement in a four-movement sonata, presents three pri- musical ideas with different inflections, as if viewing the same object mary musical ideas, the first and third of which are variations of the from different angles or through differently colored lenses. first and third themes, respectively, of the first movement. The fan- The Adagio introduction that begins the first movement serves tasy’s opening theme likewise gives rise to the mighty fugue, which both to establish the Octet’s overall expressive breadth—the work’s constitutes an Allegro finale. six movements, spanning an hour of music, make for a heady listen- ing experience indeed—and to foreshadow the movement’s central themes. The dotted rhythm that appears, first as a distant horn call, comes to the fore as the movement arrives at its Allegro section, pro- Franz Schubert pelling much of the action that follows. Octet in F Major for Winds and Strings, op. posth. 166, D. 803 A dulcet clarinet melody, set above a featherweight accompa- Composed: February–March 1, 1824 niment in the strings, opens the second movement, recalling the Publication: The first, second, third, and sixth movements were sublime slow movement of Mozart’s Clarinet Quintet. Again, Schubert originally published, posthumously in 1853, as Schubert’s Opus 166; casts the clarinet and first violin in leading roles. After expanding on the complete work appeared in print in 1889. the clarinet’s opening reverie, the violin presents the second theme, First performance: A private performance was given at the home of colored by a countermelody in the clarinet and bassoon and pro- Count Ferdinand von Troyer (see below) on April 16, 1824; the Octet’s pelled by a gently pulsing figure in the viola. Later in the movement, public premiere took place exactly three years later, on April 16, 1827. Schubert returns with renewed fervor to this pulsing accompaniment: storm clouds roll in, casting a shadow of anxiety over the movement’s Other works from this period: Schubert’s muse responded heatedly to personal crisis. In the first three months of 1824—the pastoral serenity. But at least for now, Schubert allows just a fleeting period following a diagnosis of syphilis—Schubert completed the moment of worry to disrupt his mellifluous idyll. It is as if we have only Variations on Trockne Blumen for Flute and Piano, D. 802; the flirted with the threat of banishment from the Garden of Eden—but, in a minor and d minor string quartets, D. 804 and D. 810 (“Death and Schubert’s idealized universe, we are allowed to return. the Maiden”); and numerous songs, in addition to the Octet. The third movement scherzo is a devil-may-care folk dance. By the end of the Classical period, and subsequently throughout ms Approximate duration: 65 minutes the Romantic period, the scherzo (Italian for “joke”) had become a a standard component of multimovement works. This mischievous r Schubert composed the Octet for Winds and Strings between Feb- grandchild of the genteel minuet of Haydn and Mozart appropriately g ruary and March of 1824. Just the timeline surrounding the Octet’s bears some resemblance to the stately dance—retaining, for instance, composition testifies to Schubert’s genius and commitment to his the minuet’s triple meter—but Haydn’s civilized restraint has now craft: that he completed such a monumental masterpiece in the span yielded to unbridled joy. By the end of the Classical period, we hear in of one month is astonishing. But this particular month moreover came the Octet’s and other scherzi the beginning of a rebellion against the in the midst of crisis, as his syphilitic symptoms steadily worsened (in values of the previous generation. the early nineteenth century, a syphilis diagnosis typically left its vic- Schubert lifts the fourth movement’s affable theme from his own tims with fewer than ten years). opera Die Freunde von Salamanka, composed in 1815 (though not per- ert Pro ert The previous spring, Schubert had penned the following lines of formed until 1928). A delightful set of seven variations follows. c verse: In addition to the scherzo, Schubert adds a triple-meter minuet as the Octet’s fifth movement. In contrast to the wild-eyed scherzo, With a holy zeal I yearn on Schubert’s minuet hearkens back to a Haydnesque refinement. Life in fairer worlds to learn c The final movement, orchestral in scope, begins with high drama: …See, annihilated I lay in the dust, above suspenseful tremolos in the cello, the winds and high strings Scorched by agonizing fire, issue a regal declamation. The stately double-dotted rhythm and My life’s martyr path, extreme fluctuations in dynamics between powerful fortissimos and Approaching eternal oblivion… the softest pianissimos work to riveting effect. The gravitas yields to a seemingly innocuous march (introduced by the first violin and echoed But for the tireless craftsman who had once asserted, “I have come by the clarinet), but Schubert’s insistent aggrandizement of this theme into the world for no purpose but to compose,” and who even slept at throughout the finale, punctuated by abrupt silences, suggests some- night wearing his glasses so that he would lose no time in returning thing more psychically complex. Following a sudden evocation of the to work upon waking—not even this catastrophe could extinguish the finale’s pregnant opening measures, Schubert races exuberantly to the creative impulse. Octet’s stirring final cadence. Schubert composed the Octet on a commission from Count Ferdinand von Troyer, a Viennese court official and avid amateur clarinetist. Count von Troyer’s specific wish in commissioning the Octet was for a companion piece to Beethoven’s Opus 20 Septet for Winds and Strings, another Viennese favorite of the day. In addition to a clarinet part for the count, the Octet is scored for bassoon, horn, , and bass, thus employing the same instrumentation as Beethoven’s Septet, with an additional violin. Like the Beethoven Septet, the Octet contains an especially virtuosic first-violin part. Moreover, in light of Count von Troyer’s explicit request for a companion piece to the Septet, Schubert would hardly have needed to be told that a robust clarinet part was likewise