I've taken the liberty.
Hey what do you know, one of the greatest chamber works ever written! :)
Quote from: DavidW on June 21, 2011, 07:53:15 AM
Hey what do you know, one of the greatest chamber works ever written! :)
I agree, David. However, many have yet to grown fond of this piece, and I'm hoping this 'Music Appreciation' selection will help with this.
Hello
George, join the party dude! 8)
Hey what do you know, I've never heard it! :)
Party on!
Now, that's my kind of party!!!
(What are we drinking?)
ZB
Quote from: zamyrabyrd on June 21, 2011, 08:34:41 AM
Now, that's my kind of party!!!
(What are we drinking?)
ZB
BYOB! :)
Coffee or tea. Or any Red wine. Or scotch, or Canadian Whisky. ;D 8)
Quote from: DavidW on June 21, 2011, 07:53:15 AM
Hey what do you know, one of the greatest chamber works ever written! :)
That is what everyone tells me, but I have yet to be taken by it. I will follow this thread with interest (and will take a CD of this work on my business trip starting the day after tomorrow).
PS: I have the Alban Berg Quartet with Schiff on EMI.
Paul's on board!
I have that recording as well Paul, also Rostropovich/Melos Quartet which is excellent. I've also heard Juilliard/Greenhouse. All three are excellent, and my favorite is Rostropovich/Melos. :)
I have Rostropovich/Emerson SQ. Fantastic recording. :)
I just had a once through listen with the score and the first question that popped into my mind was - why 5 instruments instead of 4? Schubert wrote 15 string quartets and 2 string trios, so this work is the odd man out. Written in 1828, it was not played in full until many years after his death, in 1850, and finally published in 1853. (This was more or less the fate of the 9th symphony, also a late work from about 1825, that stayed in a drawer until Schumann discovered it and had it performed in 1838.)
A little research turned up that this instrumentation may have been modelled on string quintets by Boccherini but more so by Onslow, a prodigious and much appreciated composer of chamber music at that time of whom we hear little to nothing these days. Instead of having the extra cello double or complement the viola as Boccherini did frequently, Schubert follows more Onslow's example, who also used the double bass in his chamber music.
Maybe the reason to have an extra bass instrument was to support the heavier scoring of the upper lines. The
higher cello, as it were, does complement the lower bass line, either unison (rare) or an octave higher, or joins the viola sometimes a third below or completes its rhythmic figures. Interesting though is when the higher cello joins the first violin. This happens towards the end of the first movement and is in evidence in the tumultous section of the adagio where it plays an octave lower than the first violin, an unusual sound concept.
ZB
Quote from: zamyrabyrd on June 22, 2011, 05:30:29 AM
A little research turned up that this instrumentation may have been modelled on string quintets by Boccherini but more so by Onslow, a prodigious and much appreciated composer of chamber music at that time of whom we hear little to nothing these days. Instead of having the extra cello double or complement the viola as Boccherini did frequently, Schubert follows more Onslow's example, who also used the double bass in his chamber music.
I've always preferred string quintets with an extra cello, and would have liked it if Mozart, Beethoven, Brahms and Bruckner had followed that path. I'm not surprised to hear that Schubert perhaps was influenced by Onslow, a composer that definitely deserves more credit, exposure and more recordings. He is fantastic in chamber music.
What I love most about Schubert's string quintet is: a) The tumultuous section in the Adagio movement. b) The serene, sublime section in the otherwise energetic, frantic Scherzo movement. I love the contrasts in these two movements. :)
It seems typical of Schubert, he is so experimental! He also used the double bass in the trout quintet and then there his famous sonata for the arpeggione... weird! :) According to wiki he actually tried many experiments which resulted in mostly fragments when he couldn't make the music work or the instrumentation work the way he wanted.
Supposedly the key modulation in the second movement is strange or unorthodox, but I don't understand it, can anyone explain it?
Quote from: WikiPerhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the second movement of the String Quintet, where he modulates from C major, through E major, to reach the tonic key of C♯ major.
Quote from: DavidW on June 22, 2011, 06:05:47 AM
Supposedly the key modulation in the second movement is strange or unorthodox, but I don't understand it, can anyone explain it?
No, but I can fail to explain it in an interesting way. Schubert's hallmark appears to have been unorthodox key modulations that you don't
notice as unorthodox because he makes them feel so natural and normal that, without a score or theory classes, you might not recognize it as weird. I know there are several other Schubert works where my brain is saying, "Oh, it's going to go from E minor to E flat major [made-up example], that's interesting," but then it sounds... thoroughly unsurprising.
Incidentally, I
have heard this string quintet before, but only once, live - with the Pavel Haas Quartet and a cellist friend. Needless to say, the PHQ were outstanding...
I see what you mean! The whole thing feels natural, if I had not read about those key modulations I would not have known that something wild was going on! :D
Another thing I had read was that Schubert instead of constantly building tension comes to periods of rests in the middle of movements. Oh and here we have the trills are chromatically altered (http://www.cello.org/Newsletter/Articles/schubjn.htm (http://www.cello.org/Newsletter/Articles/schubjn.htm)). This seems to me to be starting to build a body of evidence... supporting... well here are two questions:
(1) objectively is this piece romantic or classical?
(2) subjectively do you feel this piece is romantic or classical? In answering this question, please explain what romanticism and/or classical means to you. :)
Quote from: DavidW on June 22, 2011, 07:06:08 AM
I see what you mean! The whole thing feels natural, if I had not read about those key modulations I would not have known that something wild was going on! :D
Another thing I had read was that Schubert instead of constantly building tension comes to periods of rests in the middle of movements. Oh and here we have the trills are chromatically altered (http://www.cello.org/Newsletter/Articles/schubjn.htm (http://www.cello.org/Newsletter/Articles/schubjn.htm)).
Very good article, and he makes a convincing case for the flatted 2nd (Neapolitan) being an important harmonic element here, as in the Appassionata Sonata. So the relation between the E major of the 2nd movement and the F minor is the flatted 2nd in action. Here it is not as obvious as in the Beethoven sonata, but present nevertheless. In the overall key of C major, Db itself is an important area in the development of the 1st movement and the trio of the 3rd.
The ending though, the unison in all instruments - Db to C - clenches it for me. And that is after similar chromatic alterations in the last movement, the ambiguity of major and minor.
I'll get to your other questions later.
ZB
Quote from: DavidW on June 22, 2011, 07:06:08 AM
(1) objectively is this piece romantic or classical?
(2) subjectively do you feel this piece is romantic or classical? In answering this question, please explain what romanticism and/or classical means to you. :)
Romantic, on both questions, for me, David. I feel all of "late Schubert" is oozing moocho Romanticism. The fact that it stirs me deep inside, also leads me to believe it must be Romanticism. Of course, none of this is objectively provable from my end. ;D
My party has started!!
Schubert
String Quintet in C major, D956
Emerson String Quartet
Rostropovich - cello
DG
Quote from: DavidW on June 21, 2011, 07:53:15 AM
Hey what do you know, one of the greatest chamber works ever written! :)
I know. ;)
If this work is indeed considered one of the greatest chamber music pieces ever written, why are there so many people who don't "like it" or appreciate it? It seems to not really be appreciated by many. It is only considered great on a "critic level" or "musicological level".
Well, I'm one of those musical peons who actually agree with the critic's choice on this one. It may not win the "People's Choice Award", but may come home in the end with the Oscar. :D
Well actually Ray it's very popular! Gets lots of radio play and it is #1 on the Talk Classical Top 50 String Ensembles!! :)
http://www.talkclassical.com/13221-talk-classical-top-50-a.html (http://www.talkclassical.com/13221-talk-classical-top-50-a.html)
You know we totally need to do our own top 50 sometime. ;D
Quote from: DavidW on June 22, 2011, 09:18:56 AM
Well actually Ray it's very popular! Gets lots of radio play and it is #1 on the Talk Classical Top 50 String Ensembles!! :)
http://www.talkclassical.com/13221-talk-classical-top-50-a.html (http://www.talkclassical.com/13221-talk-classical-top-50-a.html)
You know we totally need to do our own top 50 sometime. ;D
When I first got into classical music, and tuned into the Hartford station called
Beethoven Radio, they did not even have this work in their library. >:( Yet, you could hear Gershwin's Cuban Overture on an almost daily basis, or Grofe's Grand Canyon Suite. :-\
Quote from: JetsNut on June 22, 2011, 09:20:58 AM
. . . Yet, you could hear Gershwin's Cuban Overture on an almost daily basis, or Grofe's Grand Canyon Suite.
That is so utterly, mind-bendingly wrong!
I think the 3rd movement Scherzo. Presto - Trio. Andante sostenuto has got to be one of the greatest Scherzos ever written, be it chamber or orchestral.
Quote from: k a rl h e nn i ng on June 22, 2011, 09:22:11 AM
That is so utterly, mind-bendingly wrong!
Every time I asked them to play the Schubert String Quintet in C, they would ask me "Oh, you mean the Trout Quintet, right?" I would say 'NO'. Then they would say, well we have this other quintet of Schubert's. I figured that must be the one. But no, it's this really obscure quintet a very young Schubert wrote for flute, harp or horn, shoebox and washboard. ;D Well, something like that. It's an 'oddity', and not a particularly well known piece. Me thinks, anyways.
Quote from: JetsNut on June 22, 2011, 09:20:58 AM
When I first got into classical music, and tuned into the Hartford station called Beethoven Radio, they did not even have this work in their library. >:( Yet, you could hear Gershwin's Cuban Overture on an almost daily basis, or Grofe's Grand Canyon Suite. :-\
Ha, ha, back in my hometown it was the "Pines of Rome" by Respighi all the time played by the Philadelphia Orchestra. The local radio station here got hooked on the Arlesienne Suite by Bizet and also the 6th Symphony by Beethoven. I usually tuned in the middle of that while driving.
ZB
Quote from: DavidW on June 22, 2011, 07:06:08 AM
(http://www.cello.org/Newsletter/Articles/schubjn.htm (http://www.cello.org/Newsletter/Articles/schubjn.htm)). This seems to me to be starting to build a body of evidence... supporting... well here are two questions:
(1) objectively is this piece romantic or classical?
(2) subjectively do you feel this piece is romantic or classical? In answering this question, please explain what romanticism and/or classical means to you. :)
To answer the question about Romanticism, well, Schubert for me is early Romantic. But this piece for me looks forward to Mahler. I saw there was a reference in your quoted article and this is exactly what I was thinking but didn't dare say it. The article gave me some confidence that I was not too eccentric.
There's a kind of innocence about the Romantics right on the cusp like Schubert and Mendelssohn. They use the forms of classicism like sonatas and symphonies in a conventional manner but with individual content.
ZB
Oooh, one of my favorite pieces, chamber or otherwise! :D
Zamyrabyrd, I've always loved that this piece has two cellos. On one hand, there's the added richness in sound; and also, Schubert takes great advantage of the cello's extraordinarily wide range. Example: the second sentence in the theme, where one cello plays the melody, high; the other cello plays the bass, low; and the violins and viola play between them. 8) Now if I could just find some recordings of George Onslow's chamber music; he does sound like a neglected master!
DavidW: definitely romantic! Of course, Gurn would probably say here that it doesn't matter, since it's all one anyway. ;D
Quote from: jochanaan on June 22, 2011, 11:29:20 AM
Oooh, one of my favorite pieces, chamber or otherwise! :D
Zamyrabyrd, I've always loved that this piece has two cellos. On one hand, there's the added richness in sound; and also, Schubert takes great advantage of the cello's extraordinarily wide range. Example: the second sentence in the theme, where one cello plays the melody, high; the other cello plays the bass, low; and the violins and viola play between them. 8) Now if I could just find some recordings of George Onslow's chamber music; he does sound like a neglected master!
DavidW: definitely romantic! Of course, Gurn would probably say here that it doesn't matter, since it's all one anyway. ;D
It is part of that great continuous spectrum of Classico-Romantic music. :)
8)
Yeah Jo I feel inspired to listen to some Onslow too... it's been awhile! :)
Quote from: Gurnatron5500 on June 22, 2011, 11:48:47 AM
It is part of that great continuous spectrum of Classico-Romantic music. :)
8)
(* chortle *)
Quote from: JetsNut on June 22, 2011, 09:12:19 AM
If this work is indeed considered one of the greatest chamber music pieces ever written, why are there so many people who don't "like it" or appreciate it? It seems to not really be appreciated by many. It is only considered great on a "critic level" or "musicological level".
This is new to me.
Anyway: if all repeats are respected, maybe some people find it too long.
Dunno.
IMHO, this work is one of those examples that make Grillparzer's epitaph valid:
The art of music here entombed a rich possession, but even far fairer hopes.
I only have two recordings to listen to. My first purchase was on Naxos with the Ensemble Villa Musica which is quite a good rendition. Then I got the Hollywood SQ version on Testament and I haven't bothered to look for any further recordings after hearing it.
Well looks like everyone but Gurn (who has a wider view of things ;D ) hears romanticism... cool.
Hey I'm not really familiar with Schubert's biography but apparently he wrote this in 1828 just a couple of months died. Was he already gravely ill at the time? What was his life like back then in those final months? It's sad that the quintet was passed over publication because his reputation was almost solely made on lieder. If anyone can fill in the gaps on what things were like for Franz back in summer of 1828 that would be cool.
And this brings me to another question: well is your reception, or interpretation of a work influenced by biographical details of the composer? And in particular, do you hear any part of Schubert's life in this string quintet? Or is it abstract music to you? Or do you hear your own life in this music?
For me, it is in abstract work. But I always feel like there is a touch of tragedy in Schubert's late works, including this one.
Quote from: DavidW on June 22, 2011, 05:41:25 PM
Or do you hear your own life in this music?
For me, it is in abstract work. But I always feel like there is a touch of tragedy in Schubert's late works, including this one.
For me, especially in the inner movements, I feel some of Schubert's inner struggles, his unhappiness, sickness (perhaps). The Andante Sustenuto Trio portion of the Scherzo almost never fails to make my eyes well up, and my heart feel like it is moving up into my throat.
Of course, this is just how the music makes me react and feel.
I was going to type out a long reply to this question, but I checked Wiki looking for a letter I wanted to quote (without typing it) and found the bio article on him.
http://en.wikipedia.org/wiki/Franz_Schubert
This is very good reading and answers a lot of questions. Still doesn't quote that letter to his brother though, I may have to type it out. But note that by the time of the composition of the quintet, he was fully apprised that he was incurable, and it DID affect his music. You really hear it in the Lieder, especially works like Schwanengesang, but I think it shows in the instrumental works too.
To me, the quintet is not a preponderantly light or dark work, it has strong elements of both. Some of it is joyous, in fact. Still, it is colored (more by us, who know the outcome) by the sadness of his impending death.
8)
----------------
Now playing:
Tafelmisik / Lamon Bylsma - Hob 07b 2 Concerto in D for Cello 1st mvmt - Allegro moderato
Oh if you can dig up that letter, that would be most interesting. :)
Quote from: JetsNut on June 22, 2011, 09:12:19 AM
If this work is indeed considered one of the greatest chamber music pieces ever written, why are there so many people who don't "like it" or appreciate it? It seems to not really be appreciated by many. It is only considered great on a "critic level" or "musicological level".
Well, I'm one of those musical peons who actually agree with the critic's choice on this one. It may not win the "People's Choice Award", but may come home in the end with the Oscar. :D
There's something to what you are saying. I really didn't "get it" until I heard and internatlized quite a bit Schubert's music - his songs, symphonies, chamber music, played his sonatas, etc.
I have the CD of Yo-Yo Ma and the Cleveland Quartet, very nice...
ZB
I don't want to hijack this thread with George Louis Onslow but it's interesting and informative to compare a most probable influence on Schubert. His string quintet, composed in 1829, is called the "Bullet".
Without first reading the commentary, I felt the music looked forward to Borodin with its long, luxurious lines.
http://www.youtube.com/watch?v=8ARqkiKFUAg
As in the Beethoven 6th Symphony, I prefer to hear the music without programmatic interferences. But the composer titled the 2nd movement as dolor and fever, that he certainly must have suffered when wounded in the head in a hunting accident that year. http://www.youtube.com/watch?v=-1juoZFiThg&NR=1
A possible reference to Beethoven's thanksgiving for recovery in his own string quartet.
http://www.youtube.com/watch?v=AfZC0FVIwT0&NR=1
The recuperation is now complete and in a happy vein, also reminiscent of Beethoven's Les Adieux Sonata: http://www.youtube.com/watch?v=cnhlrfbi3eI
Maybe Onslow deserves his own thread. And he also wrote four hand piano music - want to check that out.
ZB
Quote from: zamyrabyrd on June 23, 2011, 12:56:56 AM
I don't want to hijack this thread with George Louis Onslow but it's interesting and informative to compare a most probable influence on Schubert. His string quintet, composed in 1829, is called the "Bullet".
The one CD I have of Onslow includes his 'Bullet' Quintet. Fantastic piece!
That is some great music ZB! :)
We do have a couple of threads, for Onslow:
http://www.good-music-guide.com/community/index.php?topic=13552.0 (http://www.good-music-guide.com/community/index.php?topic=13552.0)
http://www.good-music-guide.com/community/index.php/topic,652.0.html (http://www.good-music-guide.com/community/index.php/topic,652.0.html)
And I hear that he is always welcome on Gurn's corner. :)
Quote from: JetsNut on June 22, 2011, 05:47:28 PM
For me, especially in the inner movements, I feel some of Schubert's inner struggles, his unhappiness, sickness (perhaps). The Andante Sustenuto Trio portion of the Scherzo almost never fails to make my eyes well up, and my heart feel like it is moving up into my throat.
Of course, this is just how the music makes me react and feel.
"Do you think you would experience those same feelings if you knew nothing about Schubert except this piece?", asked the guy who knows nothing about Schubert except this piece.
Quote from: Palmetto on June 23, 2011, 07:49:44 AM
"Do you think you would experience those same feelings if you knew nothing about Schubert except this piece?", asked the guy who knows nothing about Schubert except this piece.
I think this is an interesting and very germane question. I can't really answer it myself except from distant memory, because you can't un-ring a bell, and as it happens I know a lot about Schubert. But I do remember back to a day when I didn't, and I responded very strongly to this work from the very first. There is passion there, and whether you know the reasons for it or not, you can sense it anyway. IMO. :)
8)
Quote from: Gurnatron5500 on June 23, 2011, 07:54:31 AM
. . . because you can't un-ring a bell . . . .
Although reversing the sound of a bell ringing is cool.
Quote from: Palmetto on June 23, 2011, 07:49:44 AM
"Do you think you would experience those same feelings if you knew nothing about Schubert except this piece?", asked the guy who knows nothing about Schubert except this piece.
The first Schubert piece I heard was the 8th symphony used in a movie, and I immediately felt that was in immensely passionate work without knowing about Schubert.
I bet if it was this quintet instead, I would still feel that way. :)
Quote from: DavidW on June 23, 2011, 08:05:13 AM
The first Schubert piece I heard was the 8th symphony used in a movie . . .
Probably not the movie you mean, but it's used to charming effect near the beginning of Minority Report, IIRC. It's just possible that I played the first movement in band transcription before I ever heard the symphony itself . . . .
Quote from: Palmetto on June 23, 2011, 07:49:44 AM
"Do you think you would experience those same feelings if you knew nothing about Schubert except this piece?", asked the guy who knows nothing about Schubert except this piece.
To be honest Palmetto, I think I would still experience these strong emotions and feelings, regardless of what I knew or didn't know about Schubert.
When I'm caught up in this piece, I'm actually not thinking at all about Schubert's struggles and impending death at all. I'm not thinking of Schubert, period. The music just simply moves me deeply, and sweeps me away.
Quote from: JetsNut on June 23, 2011, 08:25:45 AM
To be honest Palmetto, I think I would still experience these strong emotions and feelings, regardless of what I knew or didn't know about Schubert.
When I'm caught up in this piece, I'm actually not thinking at all about Schubert's struggles and impending death at all. I'm not thinking of Schubert, period. The music just simply moves me deeply, and sweeps me away.
Likewise. (In principle, I mean . . . I don't think I know this quintet . . . .)
Quote from: k a rl h e nn i ng on June 23, 2011, 08:28:49 AM
Likewise. (In principle, I mean . . . I don't think I know this quintet . . . .)
Umm, duty calls you
Karl! 8)
Quote from: k a rl h e nn i ng on June 23, 2011, 08:16:20 AM
Probably not the movie you mean, but it's used to charming effect near the beginning of Minority Report, IIRC.
It's just possible that I played the first movement in band transcription before I ever heard the symphony itself . . . .
For me it was Double Indemnity. :)
ZB, Ray, Jo have all commented on the rich sound from adding a second cello that had use in the melody in not simply following the bass. Following up on this...
I've also read in two different places that the scherzo imitates the effects of horn calls in places. Does anybody hear this? How is it done? Even better could you post a clip, where you can hear it?
So... does this string quintet sound symphonic? And do you think that might be part of what makes it so popular? Well except on the station that Ray always called up! :D
Quote from: DavidW on June 23, 2011, 02:30:44 PM
...I've also read in two different places that the scherzo imitates the effects of horn calls in places. Does anybody hear this? How is it done? Even better could you post a clip, where you can hear it?
I don't have clips, but the "horn call" effects are right at the beginning of the movement, where the music moves from full chords on the tonic, C to open fifths on the dominant, G, and back (known as "horn fifths" among composers and theorists because that's the way valveless horns had to play).
Quote from: DavidW on June 23, 2011, 02:30:44 PM
So... does this string quintet sound symphonic? And do you think that might be part of what makes it so popular? Well except on the station that Ray always called up! :D
I'm not sure I'd call its lushness "symphonic," but the rich sounds certainly are a factor in its popularity. 8)
Quote from: jochanaan on June 23, 2011, 05:56:55 PM
I don't have clips, but the "horn call" effects are right at the beginning of the movement, where the music moves from full chords on the tonic, C to open fifths on the dominant, G, and back (known as "horn fifths" among composers and theorists because that's the way valveless horns had to play).I'm not sure I'd call its lushness "symphonic," but the rich sounds certainly are a factor in its popularity. 8)
Oh yeah I hear it! When you point it out like that. Here I'll post the first 20 seconds, in case anyone misplaced their recording. :)
It's that ba-bum thing right?
D956_Scherzo.mp3 (http://www.4shared.com/audio/bg5-L4K_/D956_Scherzo.html)
The greatness of Schubert is a paradox. His musical material is frequently simple, though deceptively so, even childlike. The second subject of the 1st movement is a case in point, like a fragments of a hummed tune. There are so many examples in his output, like his Gb Impromptu. How could such simple constructions be so moving? Analysts have surely scratched their heads over this one and gotten nowhere.
Is it the scoring or the modulations or both? The first violin in the Adagio (ta, ta, TA, ta; ta, ta-ta,TA ta) also fragments over a disparate melody - how do these shards combine and make magic? In the hands of lesser mortals they don't click. In Schubert's hands, these simple constructions become great as some of Mozart's childlike themes. Humility in action, perhaps? But that doesn't answer it either. The whole is much more than the sum of its parts.
It's the same language whether spoken by a hawker of goods or a Shakespeare. How different when simple words are put together by a poet like Robert Burns. Can anyone really get into its inner logic and figure out precisely HOW such naive statements become poetry? Likewise Schubert...
O, my luve's like a red, red rose, That's newly sprung in June.
O, my luve's like the melodie, That's sweetly play'd in tune.
ZB
Quote from: DavidW on June 22, 2011, 05:41:25 PM
Well looks like everyone but Gurn (who has a wider view of things ;D ) hears romanticism... cool.
Hey I'm not really familiar with Schubert's biography but apparently he wrote this in 1828 just a couple of months died. Was he already gravely ill at the time? What was his life like back then in those final months? It's sad that the quintet was passed over publication because his reputation was almost solely made on lieder. If anyone can fill in the gaps on what things were like for Franz back in summer of 1828 that would be cool.
And this brings me to another question: well is your reception, or interpretation of a work influenced by biographical details of the composer? And in particular, do you hear any part of Schubert's life in this string quintet? Or is it abstract music to you? Or do you hear your own life in this music?
For me, it is in abstract work. But I always feel like there is a touch of tragedy in Schubert's late works, including this one.
The final three great piano sonatas belong to this period, as well as the song cycle
Winterreise and the last string quartet. I mention these as sharing the same spirit of gloom and desperation with what I feel is a kind of Mahlerian irony - the alleged "cheerful" parts. I had the chance to get to know the string quartet No. 15 (1826) as part of a project. The alteration of major and minor is as chilling as anything in the
Winter Journey. http://www.youtube.com/watch?v=Q8q-5o383kI&feature=related
The "Death and the Maiden" (1824) quartet probably came upon the heels of the realization of his contracting a terminal illness for which the treatment was as bad or even worse than the disease. How he could compose with horrible headaches, vomiting, etc., brought about by the injection of mercury is a mystery. Even healthy people would strain to have such stamina to write so much.
ZB
Quote from: DavidW on June 23, 2011, 06:18:06 PM
Oh yeah I hear it! When you point it out like that. Here I'll post the first 20 seconds, in case anyone misplaced their recording. :)
It's that ba-bum thing right?
D956_Scherzo.mp3 (http://www.4shared.com/audio/bg5-L4K_/D956_Scherzo.html)
Yes, that's it. 8)
Quote from: zamyrabyrd on June 23, 2011, 09:49:55 PM
The greatness of Schubert is a paradox. His musical material is frequently simple, though deceptively so, even childlike...
Yes, indeed. And it's true of so many great composers. Beethoven is another example; despite the complexity and grandeur of his musical structures, his
melodies have that same deceptive simplicity. And Varèse; so many of his "extreme" compositions are built from the simplest brief figures... One of the mysteries of music that defies analysis. 8)
Quote from: k a rl h e nn i ng on June 23, 2011, 08:28:49 AM
Likewise. (In principle, I mean . . . I don't think I know this quintet . . . .)
Can this really be true? :o :o
Quote from: jochanaan on June 25, 2011, 01:08:47 PM
Yes, indeed. And it's true of so many great composers. Beethoven is another example; despite the complexity and grandeur of his musical structures, his melodies have that same deceptive simplicity. And Varèse; so many of his "extreme" compositions are built from the simplest brief figures... One of the mysteries of music that defies analysis. 8)
Or the nose-thumbing simplicity of the tunes in Mozart 41.iv!