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CD 1
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| 1 |
Introduction, origins
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1:39
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| 2 |
Imagery, analogy and the shape of the things to come; the opening flourish
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1:50
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| 3 |
The unusual presence of the double-bass
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0:54
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| 4 |
A palette of tone colours and the emergence of a theme
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0:47
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| 5 |
Trouble getting off the ground, but the key is not in doubt.
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0:49
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| 6 |
Jumping the queue: Schubert takes a lesson from Mozart.
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1:33
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| 7 |
Mozart demonstrates a traditional transition.
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0:33
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| 8 |
Destination clarified
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0:07
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| 9 |
Mozart confirms our arrival.
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0:08
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| 10 |
A Schubertian shocker from a later work
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0:52
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| 11 |
Rejoining the 'Trout', with a reminder
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0:27
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| 12 |
The piano joins the strings with yet a third variant of the theme.
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0:31
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| 13 |
A rhythmic motto: the 'triplet motif'
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1:26
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| 14 |
We get it here.
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0:17
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| 15 |
We get it there.
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0:17
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| 16 |
We find it everywhere, even in the double-bass.
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0:27
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| 17 |
The strings' answer to the piano's opening flourish
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0:36
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| 18 |
The two-part structure of the 'answering motif'...
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0:24
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| 19 |
...but scarcely ever the same way twice
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0:34
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| 20 |
The piano and strings now share the material for the first time.
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0:42
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| 21 |
Conversation as the first principle of chamber music
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0:43
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| 22 |
Opening (introductory) section heard complete
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1:01
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| 23 |
The violin and double-bass in partnership
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1:16
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| 24 |
The violin and piano swap roles.
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0:59
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| 25 |
Transition to second main theme; triplets now everywhere
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1:12
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| 26 |
On the threshold of the new theme
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0:30
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| 27 |
Second main theme (a 'love duet'), shared by cello and viola
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1:24
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| 28 |
The abandonment of octaves in the piano changes the tone colour.
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1:07
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| 29 |
A surprising change of tone and a premonition
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0:39
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| 30 |
A return to lyricism, but the cello jumps the gun
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0:37
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| 31 |
A buoyant, skipping new theme is given to the solo piano.
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0:36
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| 32 |
Re-entry of the strings as the violin takes up the new theme
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0:25
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| 33 |
A transitional theme, and another Schubertian key-jump
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1:33
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| 34 |
We sense the imminent arrival of the closing theme.
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1:31
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| 35 |
A sudden, hushed key-change introduces part two of the closing theme.
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0:40
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| 36 |
The exposition comes to an end.
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0:32
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| 37 |
Cue to complete exposition
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0:06
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| 38 |
Music: exposition complete
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4:09
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| 39 |
Introduction to the development; the genetic code of 'key'
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7:20
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| 40 |
The contrasting aural properties of piano and violin
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1:03
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| 41 |
The ponderous double-bass is featured in the first main theme
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0:49
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| 42 |
The strings are liberated from servitude, but are a long way from home.
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0:42
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| 43 |
A joyful conversation and a change of pace in the piano
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1:06
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| 44 |
The piano takes the melodic lead again.
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0:31
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| 45 |
A conversation between violin and piano leads to the exposition...
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1:20
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| 46 |
...but Schubert gets it 'wrong'.
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1:35
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| 47 |
Piano Quintet in A major, D. 667 “Trout”: I. Allegro vivace
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9:09
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| 48 |
Introduction to second movement
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1:53
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| 49 |
The violin now takes theme one.
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0:29
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| 50 |
The piano regains the theme.
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0:42
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| 51 |
The violin and piano round off first section with the new 'closing' theme.
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0:35
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| 52 |
A major change of tone: a passing cloud and a dark new key
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1:19
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| 53 |
The piano abandons its octaves, but not its triplets, in the new 'Hungarian' theme.
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1:28
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| 54 |
The sun returns with a new theme, in two contrasting parts.
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1:21
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| 55 |
An evaporating dialogue between violin and piano
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0:58
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| 56 |
A major mood change as twilight falls
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1:12
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| 57 |
Cue to whole movement
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0:33
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| 58 |
Piano Quintet in A major, D. 667 “Trout”: II. Andante
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7:30
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CD 2
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| 1 |
Introduction to the Scherzo - And a Clear Four-Bar Phrase...
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1:37
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| 2 |
..."Answered" by Two Two-Bar Phrases
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0:21
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| 3 |
A Disconcerting "Echo"
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1:02
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| 4 |
Expectation, Frustration and Surprise
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0:27
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| 5 |
The Phrase Length Exands From Nine to Fourteen Bars
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0:36
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| 6 |
The Beginning of the Second Half...
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1:07
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| 7 |
... or Should It Go From G minor to D major?
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0:08
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| 8 |
Doubts Are Sown as the Tonality Becomes Elusive.
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0:48
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| 9 |
A Varied Reprise of Part One, and the End of the Scherzo Proper
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0:33
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| 10 |
A Conversational Start to the Trio Section
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0:40
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| 11 |
Another Schubertian Phrase Extension
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0:25
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| 12 |
Two Overlapping Phrases Add Up to a Single Theme.
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0:22
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| 13 |
The Piano Adds a Third Phrase to the Overlap.
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0:32
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| 14 |
The Overlaps Continue as the Key Drifts Downwads
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0:36
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| 15 |
Another Schubertian Key-Jump, Now to B flat
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0:45
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| 16 |
A Dramatic Transformation of Mood
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0:52
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| 17 |
Awakening From a Dream: The Main Theme's Return
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0:51
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| 18 |
Cue to Complete Scherzo
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0:11
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| 19 |
Piano Quintet in A major, D. 667 “Trout”: III. Scherzo: Presto
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3:52
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| 20 |
Enter the Trout, at Last; A Meeting With the Original
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0:30
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| 21 |
Music: "Die Forelle"
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1:59
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| 22 |
Back to the Quintet: The Strings, Headed by the Violin, Introduce the Theme.
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1:24
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| 23 |
The First Variation
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1:41
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| 24 |
The Second Variation
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1:14
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| 25 |
The Third Variation
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1:20
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| 26 |
The Fourth Variation, Part One
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1:33
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| 27 |
The Fourth Variation, Part Two
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0:57
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| 28 |
The Fifth Variation
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2:45
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| 29 |
The Final Variation, Part One: Violin and Piano Alone Introduce the Theme
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0:31
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| 30 |
The Final Variation, Part Two: The Cello Takes the Tune.
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0:25
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| 31 |
The Final Variation, Part Three: Piano and Violin Return as a Duo...
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0:25
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| 32 |
The Final Variation, Part Four: ...as Do the Viola and Cello.
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0:17
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| 33 |
The Final Variation, Part Five: The Entire Ensemble Is Reunited.
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0:39
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| 34 |
Piano Quintet in A major, D. 667 “Trout”: IV. Thema with Variations: Andantino
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7:09
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| 35 |
Introduction to the Finale: Schubert as Wizard of Repetition
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2:17
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| 36 |
Easily Overlooked: The Accompaniment From Cello and Double-Bass
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0:36
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| 37 |
Contrasts of Timbre and Register
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0:59
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| 38 |
A Repetition, and Yet Not a Repetition
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0:07
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| 39 |
A Journey Begun; The Phenomenon of Musical Gravity
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0:22
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| 40 |
The Journey Completed
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0:16
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| 41 |
The Source of Musical Gravity
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0:22
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| 42 |
Music: Saint-Saens - The Carnival of the Animals "The Pianists"
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0:28
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| 43 |
A Scale of Shifting Tensions
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0:49
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| 44 |
Music: Beethoven, Symphony No. 1 (Finale)
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0:37
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| 45 |
Back to Schubert
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0:39
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| 46 |
The Piano Embellishes a Scalewise Descent.
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0:18
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| 47 |
A Retrospective Moment
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0:33
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| 48 |
Repetition More Apparent Then Real
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1:02
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| 49 |
A Taste of Phrase Rhythm
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1:26
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| 50 |
Shifting Patterns of Accentuation
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0:27
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| 51 |
The Section Reviewed
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0:15
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| 52 |
An Increasingly Sophisticated Texture as Parts Interact
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0:46
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| 53 |
More Phrase Rhythm
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0:29
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| 54 |
A Repetition From the Strings...
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0:11
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| 55 |
... and an Answer From the Piano
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0:13
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| 56 |
In Transition to the Secondary Key
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0:51
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| 57 |
The Origin of the Second Theme
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0:19
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| 58 |
The Second Main Theme
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0:38
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| 59 |
The Closing Section Begins, With a Question Answered.
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0:42
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| 60 |
The Question Repeated, a Slightly Different Answer
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0:28
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| 61 |
First Theme of Closing Section Reviewed
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0:59
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| 62 |
Remembrance of Things Past
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0:28
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| 63 |
The Piano and Strings Argue Over the Harmony.
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1:13
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| 64 |
Emergence of the Final Theme
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0:24
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| 65 |
An Unexpected Thunderstorm
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0:51
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| 66 |
The Sound of Silence
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1:29
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| 67 |
Cue to Complete Finale
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1:00
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| 68 |
Piano Quintet in A major, D. 667 “Trout”: V. Finale: Allegro giusto
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6:47
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