String Quartet No.14 d minor D810 - Violin 1
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Don't show me this message again. The song-fragment on which its slow movement is based, with its subject of youthful mortality, is one that must have given Schubert pause for thought; and the quartet as a whole goes so far as to cast all four of its movements in the minor—a surfeit of sombreness that will not be found in any work by Haydn, Mozart or Beethoven.
Movement 1: Allegro. Track 1 on CDA [10'51]. Track 1 on LSO [16'04] Download only. Track 2 on CDA [12'23]. Track 2 on LSO [14'10] Download only. Track 3 on CDA [3'40].
Track 3 on LSO [3'44] Download only. Track 4 on CDA [9'04].
Track 4 on LSO [8'50] Download only. Track-specific metadata. From Wikipedia, the free encyclopedia. For other uses, see Death and the Maiden disambiguation.
First movement. Second movement. Third movement. Fourth movement. View the performance at YouTube. Los Angeles Philharmonic Association. Retrieved November 1, II, p. Brown , p.
Jurgenson, c. The translation is somewhat free, here is a more literal rendering: The Maiden : "Away! Ah, Away! I am still young. Go, instead. And do not touch me! Be of good courage; I am not cruel You shall sleep gently in my arms. This bowing is not marked in the urtext edition , but appears almost universally in all edited versions. See for example, the Peters edition, edited by Carl Herrmann. Chamber music by Franz Schubert.
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Opening of the quartet . After the introduction, Schubert presents the first theme : a continuation of the chorale motif, but with the triplets motif rippling through the lower voices, in a restless, unremitting stream. Main theme of the movement. The triplet motif is transmuted into a connecting theme of its own, leading to the second theme in F major. Second theme. The second theme is repeated, with an accompaniment of sixteenth notes. Second theme, with 16th notes accompaniment.
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The sixteenth note passage modulates through a range of keys , finally settling on A major , where it continues as an accompaniment to a restatement of the second theme in the second violin. The exposition ends with a transformation of the second theme, this time wrenched into a violent outburst in A minor.
End of the exposition. The development concentrates on the two forms of the second theme: the lilting, quiet version, and the violent inverted form. The section fluctuates between a fading relaxation and fortissimo. Toward the end of the development, Schubert reintroduces the triplet motif of the first theme, leading to the recapitulation. The maiden remonstrates against Death, Death wheedles and cajoles. Here the opening themes return, with variants. The music moves to D major , for a relaxed recapitulation of the second theme, then returns to D minor.
A chorale reminiscent of the introduction leads to the coda. But even in the chorale, the tension does not relax, with a sudden fortepiano interrupting the quiet. The opening theme returns, played at a rushed tempo, like a sudden resurgence of life, growing to a climax that suddenly breaks off and the triplet motif, played at the original slower tempo, dies away to the end of the movement. End of the first movement.
The maiden is close to death. Suddenly a spurt of life, hope, the music rushes and moves to major. But then, a return to minor, and the music pulses to its death. The second movement is a theme and five variations, based on the theme from the Schubert Lied.
The theme is like a death march in G minor, ending on a G major chord. Throughout the movement, Schubert does not deviate from the basic harmonic and sentence structure of the measure theme. But each variation expresses a profoundly different emotion. Theme of the second movement. In the first variation, a lilting violin descant floats above the theme, played in pulsing triplets in the second violin and viola that recall the triplets of the first movement.
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First variation. In the second variation, the cello carries the theme, with the first violin playing the pulsating role — this time in sixteenth notes. Second variation. After two relaxed variations, the third variation returns to the Sturm und Drang character of the overall piece: a galloping fortissimo figure breaks off suddenly into piano ; the violin plays a variant of the theme in a high register, while the inner voices continue the gallop. Third variation. The fourth variation is again lyrical, with the second violin and cello carrying the melody under a long violin line in triplets.