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A lustrous performance. At the same time, every detail is remarkably clear and ideally balanced. Mood changes and contrasts projected with irresistible conviction. No wonder this ensemble is receiving accolades.
Submitted by retronod on Tue, 03/24/2009 - 10:59.
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Classical Music | Music for Quartet
Franz Schubert
String Quartet No. 12 in c minor, D. 703 “Quartettsatz”
PlayRecorded on 02/04/2009, uploaded on 03/16/2009
Musician's or Publisher's Notes
Franz Schubert began his Twelfth String Quartet in December 1820. The first movement and forty measures of an Andante second movement were completed before he abandoned the work. The completed first movement has since come to be known as the Quartett-Satz. Despite being abandoned, the Quartett-Satz is considered to be an important work in Schubert's oeuvre and the precursor of his later, most successful, quartets. Four years later, in 1824, Schubert returned to the genre and composed the Rosamunde, Death and the Maiden and Fifteenth Quartets
The Quartett-Satz opens with a two-fold idea that forms the melodic germ of the piece—first, an oscillating semitone motif, which is then repeated descending along the melodic minor scale to form the second motif. The first thematic section passes briefly by and transitions nearly without notice into the second theme. A lyrical tune in A-flat major, the second theme is accompanied by the triplet rhythm of the first theme. At the conclusion of the second theme, the driving tremolos that begun the work make a startling return in the remote key of A-flat minor and through a series of sweeping violin runs manages its way back to the key of G. Forming the closing section of the exposition, the first theme returns with a new countermelody set against it.
The development section is brief and focuses entirely upon the motif of the first theme. Set against this incessant melodic idea, a new idea is heard first in the violin and then passed back and forth between it and the cello. The recapitulation, for the most part, follows the plan of the exposition with the sole exception of the omission of the first theme. While by no means exceptional, in this instance the artistic reasons for Schubert's omission of the first theme are quite easily deduced. A return of the opening bars of the movement serves as a brief coda before full-voiced chords bring the piece to a dramatic close. Joseph DuBoseMore music by Franz Schubert
Der Wanderer an den Mond
Tränenregen, from Die schöne Müllerin
Moment musicaux, D. 780 No. 4
Erlkönig
Piano Sonata D. 958, Finale: Allegro
Sonata in B-flat Major, Op. 30, D617
Impromptu Op. 90 No. 2 in E-flat Major, D. 899
Notturno
Impromptu Op 90 N° 3
Standchen, Lieder for Flute and Piano
Performances by same musician(s)
String Quartet No. 2 in F Major, Op.92
String Quartet in B minor, Op. 33, No. 1
String Quartet No. 11 in F minor, Op. 122
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