Classical Music | Music for Quartet

Recorded on 05/23/2012, uploaded on 10/24/2012

Musician's or Publisher's Notes

The D minor quartet is subtitled "Death and the Maiden" because Schubert borrowed the theme for the second movement from his 1817 song, "Der Tod und das Madchen". The short, simple lied tells of death gently coming to claim the life of a young girl who urges him, "go on, oh, go on past me!"  

The melody that Schubert uses in the quartet is actually the piano introduction that represents the approach of death. The central role of this quotation in the quartet has led several commentators to regard the entire work as an exposition of Schubert's view on death, and the climax it reaches in the finale as a frenetic Dance of Death. More likely, Schubert borrowed the melody for musical rather than programmatic reasons; according to some evidence, the idea of basing the quartet on the song came from some friends who loved the melody.

The first movement starts with a tense, forceful motif, flung out twice like a bold, repeated challenge. The prominent triplet figure is heard throughout all of the motifs that make up the first subject group and furnishes the motoric energy that carries the music surging forward. The same rhythmic triplets underlie the lyrical, Italianate second theme, which is given out by the violins. The recapitulation is quite freely realized and flows right into the coda, which builds to a stunning climax. The quiet ending echoes with the sound of the ever-present triplets.

In the somber second movement, Schubert uses the theme he took from the song's introduction as the foundation on which to build a set of five variations. The theme is perfect for the purpose; it consists of a simple repeated rhythmic pattern with minimal melodic and harmonic movement, allowing the composer to add musical complexity and new expressive content in the ensuing variations.

The Scherzo opens with fierce, slashing syncopations, and the rhythmic drive does not slacken throughout the entire first part. There is an abrupt change of character in the trio with its tranquil, warmly sung cantilena line.

Although the finale Presto starts with a bleak, distant unison, it mounts to several climaxes of feverish gaiety. The high-speed rhythmic pattern derives from the old Italian dance, the tarantella. The movement is propelled forward with great energy and verve, culminating in the brilliant prestissimo coda.

Schubert composed the "Death and the Maiden" Quartet in March 1824. Its first performance, actually an unrehearsed reading, was on January 29, 1826, at the Vienna home of Karl and Franz Hacker, two amateur musicians. Schubert, who enjoyed playing viola in chamber music ensembles, could not participate since he was busy copying out the parts and making last-minute corrections. The quartet was not published until July 1831, nearly three years after Schubert's death.

Excerpt from Melvin Berger's "Guide to Chamber Music"

Courtesy of International Music Foundation.