Schubert called the finale a rondo but it may be better understood as sonata form in which the roles of development and recapitulation overlap. In the Trio, string melodies float above a piano waltz rhythm missing its downbeat the singing strings and discombobulated piano navigate independent metrical courses, yet magically stay together. The scherzo is a staccato Allegro that resembles the scherzo from Schubert’s Trout Quintet (the tune is upside down). After a decorative middle section, Schubert unveils a final transformation of the initial melody: it now modulates in midstream and not just between restatements.
The ambiguity thus toys with our expectations: does the recapitulation begin with the return of the first theme or with the return to the home key?Īgain the fountainhead of lyrical expression, the cello introduces the Andante un poco mosso’s gorgeous songlike theme, taken up by the violin. The sonata-form movement features a curious anomaly: the recapitulation begins in the “wrong” key (G-flat) it is only when the piano restates the first theme in the tonic (B-flat) that our expectation of symmetry is satisfied. Schubert’s song-writing shines in the lyrical second theme, introduced by the cello, the subject of emotional outpouring in the development. The B-flat Piano Trio, today known as the first, opens with a jubilant Allegro moderato. Schubert likely composed his two monumental piano trios one shortly after the other in late 1827 although it remains unclear in which order. The case is compelling and makes the Notturno-an abandoned sketch for one work and the basis for another-a unique record of the creative process itself. The movements’ similarities are striking: a serene slow-moving melody in close spacing framed by outer parts (in the Notturno, by the piano) a turbulent central episode in the flattened-second scale degree the use of pizzicato and a coda that recalls both tranquil and stormy material. Others have even suggested that the movement became the seed for the Adagio in the String Quintet in C. But others consider it a work of great beauty, some hearing in the continually intertwined violin and cello melody a deeply felt love song, almost erotic in its trance-like unfolding. Many have therefore dismissed the movement as a “reject”. 148Ĭomposed in 1827 around the same time as his two great piano trios, the one-movement Notturno (Nocturne) is believed to be the discarded slow movement for the B-flat Trio (D. A charming Allegro movement imbued with Mozartian elegance, it would be Schubert’s only work in the genre until his final year. 28), the first time he combined piano with strings. During the prolific months that followed, he composed a one-movement sonata for piano trio (D.
And when his voice broke that summer, abruptly ending his career as a chorister, he had more time than ever to compose.
Salieri’s rigorous lessons in counterpoint, fugue and the setting of Italian texts were not only a timely distraction for the grieving adolescent, but also quickly improved his technique. Two weeks later, Schubert began private studies in composition and theory with Antonio Salieri, the famous Viennese Court Kapellmeister. In 1812, when he was 15, Schubert’s mother died suddenly at the age of 55. Sonatensatz, Piano Trio in B-flat Major for piano, violin and cello, D. 929) however, they quickly came to be considered pinnacles of the genre. 897)-Schubert wrote only two complete trios for piano, violin and cello (D. With the exception of two one-movement pieces-a very early experimental work (D. The Gryphon Trio presents the complete piano trios repertoire by Franz Schubert (1797-1828).
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