Analysis String Quintet (Schubert)

1 analysis

1.1 first movement: allegro ma non troppo
1.2 second movement: adagio
1.3 third movement: scherzo
1.4 fourth movement: allegretto

analysis

the string quintet consists of 4 movements in usual quick-slow-scherzo-quick pattern:

first movement: allegro ma non troppo

in common other late schubert works (notably, symphony in c major, d. 944, piano sonata in b-flat major, d. 960, , string quartet in g major, d. 887), quintet opens extremely expansive movement: allegro ma non troppo accounts more 1 third of total length of piece (typically, 50 minutes). movement notable unexpected harmonic turns. exposition, lasting 154 bars, begins expansive c major chord: in g major quartet, d. 887, schubert here presents harmonies—rather memorable, well-contoured melody—without regular rhythmic pulse. followed music of gradually increasing motion , tension, leading contrasting second subject, in unexpected key of e-flat, introduced duet between 2 celli. exposition concludes dominant (g major) chord leads naturally opening tonic chord on repeat. however, after repeat of exposition, schubert begins development section daring modulation dominant submediant lift[s] music magically g major major.

second movement: adagio

the sublime second movement, 1 of schubert s rare adagios, in three-part aba (ternary) form. outer sections, in e major, of otherworldly tranquility, while central section intensely turbulent: breaks tranquility in distant key of f minor. when opening music returns, there running 32nd-note passage in second cello seems have been motivated turbulence came before it. in last 3 measures of movement, schubert somehow contrives tie entire movement harmonically modulation f minor of middle section , immediate return e major.

the use of ternary structure contrast tranquil outer sections turbulent central section resembles second movement of schubert s piano sonata in major, d. 959, composed @ same time quintet.

the juxtaposition of e major , f minor, exceedingly distantly related keys, establishes importance of tonal relationship of lowered second degree (or flat supertonic) tonic exploited in third , fourth movements.

third movement: scherzo

the scherzo, beginning in c major, symphonic , large-scaled, open strings of lower instruments exploited in innovative manner creates volume of sound seemingly beyond capabilities of 5 stringed instruments. first section moves a♭ major , c major. middle section of movement moves e♭ major, b major, ♭vi of ♭iii. c major theme returns @ end.

fourth movement: allegretto

the last movement exuberant sonata-rondo form resembles of finale of mozart s c major quintet main theme demonstrates clear hungarian influences. movement in c major, built upon interplay of major , minor modes. has unusual technical features, such final 2 notes: flat supertonic (d-flat) , tonic (c), played forte in parts.

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