Composition completed - 1828 September or October. The exposition, lasting 154 bars, begins with an expansive C major chord: as in the G major quartet, D. Olivier is supported by the Mécénat Musical Société Général, Culturesfrance, and received a Price from the « Fondation Simone et Cino del Duca-Institut de France », in Paris. It was composed in 1828 and completed just two months before the composer's death. All along, we are immersed in that peculiar Schubertian dichotomy of sublime lyrical euphoria on one hand, and dark, profoundly unsettling anxiety on the other, an oscillation between two mighty poles suggesting life and death, or perhaps, life and the unknown afterlife. The additional instrument might be a viola, cello or bass. Examples include , , , and Jim Jarmusch's.
All these tendencies are reined in by the and second cellist. The exposition concludes with a G major chord that leads naturally back to the opening tonic chord on the repeat. In December 2005, he won a special Price at the Domnick Competition in Stuttgart, for his Interpretation of Contemporary Music. The first recording was made by the Cobbett Quartet in 1925. Throughout, we experience a wealth of Schubert's finest themes, textures and dramatic narratives cast in a uniquely rich ensemble featuring two cellos. The movement is in C major, but is built upon the interplay of the major and minor modes. Before Schubert, had replaced the second viola with a second cello; however, Schubert's use of the second cello is very different from Boccherini's, who uses the additional cello to create an additional viola line.
The work's big tunes are sweet without being insistent about it, and many passages are beautifully thought out and detailed. A single opus number may refer to a collection of works e. That characteristic harmonization is indeed used for a sustained flat supertonic in the bass part in the fourth- and fifth-last measures of the work. Strongly recommended, with sound recording that loses none of the cellos' creeping pizzicatos. These performances by the great are fine examples of the cellist at his most mature and insightful, if not his most technically secure.
The finale is the shortest of the four movements, and it dances marvelously along while particular Viennese elegance until a kind of desperate, perhaps fatalistic impulse drives it into a Gypsy tarantella, rushing against ultimate clock. Franz Schubert's Letters and Other Writings. Its first known public performance occurred only three years earlier, on 17 November 1850 at the in Vienna. When the opening music returns, there is a running 32nd-note passage in the second cello which seems to have been motivated by the turbulence that came before it. Tempi are brisk but not rushed; vibrato is kept under tight rein and the slow movement sings tenderly rather than sobs, making it all the more expressive.
Olivier plays on a cello by Jonas Gierten 2012, Wiesbaden. Period Piece Style Instrumentation 2 violins, viola, 2 cellos Misc. Current consensus holds that the Quintet represents a high point in the entire chamber repertoire. Weakened by tertiary syphilis and the toxic, mercury-based medications he was taking for the syphilis, Schubert took to his bed with a high, persistent fever, almost certainly caused by a bacterial typhoid infection. Sample the slow central section of the Scherzo track 3 , often played with operatic despair, but here a deeply mysterious zone of haunted contemplation. This quintet, one of the last works wrote and not discovered until long after his death, often takes on a sound derived from later perceptions of what Viennese music is supposed to be like.
Archived from on 30 September 2012. The four musical soul mates, who also share a close personal friendship, quickly took the chamber music world by storm with their spirited playing, fuelled by the joy of bringing music to life. The String Quintet in C by Franz Schubert was composed in the final weeks of his life. The piece has a draw in a chamber music programme like that of a star soloist in an orchestral concert. The use of ternary structure to contrast tranquil outer sections with a turbulent central section resembles the second movement of Schubert's , composed at the same time as the quintet. When he began composing his string quintet, Schubert had already composed an impressive body of chamber music for strings, including at least fifteen , most of which were composed for domestic performance by his family's string quartet.
Olivier studied with Jean Deplace in Lyon, and Jean-Guihen Queyras in Stuttgart. That is not an opinion; that is a fact. The glorious tunes that serve as second subjects of both of the outer movements tend to get overlaid with a layer of strolling-musician schmaltz; the second movement comes off as a tragic plaint; and the scherzo is pounded out by the two cellos the work is written for the unusual configuration of two violins, viola, and two cellos. If only Schubert could have known how his final achievement makes us feel. It is not certain, I gather, that it was completed before the B-flat piano sonata. Camilla Urso: Pioneer violinist 1840—1902.
The Trio is in , creating another important flat-supertonic relationship. Even at this very late stage in Schubert's career, he was regarded as a composer who mainly focused on songs and piano pieces, and was definitely not taken seriously as a chamber music composer. It is even possible that Schubert himself never heard even a rehearsal of the quintet, ultimately knowing it only within his own mind. The most common choices are named: Viola Quintet, Cello Quintet. The recordings are much too distant and the sound itself is hazy. Should any of these compositions by any chance commend themselves to you, please let me know. The second movement's plaintive mood makes it popular as background music for pensive or nocturnal scenes in film.