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to other quartets than mine, for there is nothing in them..." There are several qualities that set these mature quartets apart from
Schubert's earlier attempts. In the early quartets, it is primarily the first violin that carries the melody, with the other instruments playing supporting roles; in the later quartets, the part writing is much more advanced, and each instrument brings its own character and presence, for a more complex and integrated texture. Also, the later quartets are structurally much more integrated, with motifs, harmonies, and textures recurring in a way that ties the entire work together.
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196:. "To the independent artist... the string quartet had now also become a vehicle for conveying to the world his inner struggles." For Schubert, who lived a life suspended between the lyrical, romantic, charming and the dramatic, chaotic, and depressive, the string quartet offered a medium "to reconcile his essentially lyric themes with his feeling for dramatic utterance within a form that provided the possibility of extreme color contrasts", writes music historian Homer Ulrich.
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988:", about a child who dies at the hands of king of the forest. The terrified child turns to his father for protection, but his father does not see the spirit, and ignores the child's pleas until the child is dead in his arms. "There is deep meaning in the appearance of this phrase", writes Cobbett. The chorale motif continues, with a flowing triplet accompaniment in the first violin that recalls the fourth variation of the
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206:. He apparently planned to publish a three-set volume of quartets; but the Rosamunde was published within a year, while the D minor quartet was only published in 1831, three years after Schubert's death, by Diabelli. It was first played in January 1826 at the Vienna home of Karl and Franz Hacker, amateur violinists, apparently with Schubert on the viola.
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terror, pain and resignation, ending with a dying D minor chord. "The struggle with Death is the subject of the first movement, and the andante accordingly dwells on Death's words", writes
Cobbett. After a scherzo movement, with a trio that provides the only lyrical respite from the depressing mood of the piece, the quartet ends with a
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Schuppanzigh's impressions notwithstanding, Schubert's quartet soon won a leading place on the concert stage and in the hearts of musicians. "Only the excellence of such a work as
Schubert's D minor Quartet... can in any way console us for the early and grievous death of this first-born of Beethoven;
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quartet in 1824 using a theme from the incidental music that he wrote for a play that failed. These quartets are a huge step forward from his initial attempts. Even
Schubert recognized this fact; in July 1824, he wrote to his brother Ferdinand of his earlier quartets, "it would be better if you stuck
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string quartet can be interpreted in a quasi-programmatic fashion, even though it is usually viewed as an abstract work", writes
Deborah Kessler. Theologian Frank Ruppert sees the quartet as a musical expression of Judaeo-Christian religious myths. "This quartet, like so many of Schubert's works, is
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time, repeated, in D minor, followed by a contrasting trio section in D major, at a slower tempo, and ending with a recapitulation of the opening strains. The trio section is the only real respite from the compelling pace of the whole quartet: a typically
Schubertesque melody, with the first violin
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But it is not only this theme of the quartet that recalls death. The quote from the song "makes explicit the overriding theme of the work, its bleak vision and almost unremitting foreboding", writes Andrew
Clements. From the violent opening unison. the first movement runs a relentless race through
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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 24-measure theme. But each
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Think of a man whose health can never be restored, and who from sheer despair makes matters worse instead of better. Think, I say, of a man whose brightest hopes have come to nothing, to whom love and friendship are but torture, and whose enthusiasm for the beautiful is fast vanishing; and ask
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The movement opens with the main section of the rondo in unison, with a theme based on a dotted figure. The theme is traditionally bowed in the reverse direction from the usual bowing of dotted passages. This has the effect of moving the accent onto the off-beat, giving the entire passage the
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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
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leading. Schuppanzigh, one of the leading violinists of the time, who debuted many of
Beethoven's and Schubert's quartets, was reportedly unimpressed. "Brother, this is nothing at all, let well alone: stick to your Lieder", the aging Schuppanzigh is reported to have said to Schubert.
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The theme develops characteristically, with sudden lurches from loud to soft and running triplets, leading to the second section of the rondo: a broad, chorale-like theme. Cobbett identifies this theme as a quote from another song of
Schubert's,
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1823 and 1824 were hard years for Schubert. For much of 1823 he was sick, some scholars believe with an outburst of tertiary stage syphilis, and in May had to be hospitalized. He was also without money: he had entered into a disastrous deal with
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coda of the movement and of the piece. The coda begins in D major, suggesting a triumphant end – a device common in classical and romantic quartets. But in this case, the coda suddenly returns to D minor, for a tumultuous and tragic conclusion.
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planned an arrangement for string orchestra and notated the details in a score of the quartet (the work was never completed, however, and only the second movement was written out and played; modern revivals of the arrangement are by
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264:– the traditional dance to ward off madness and death. "The finale is most definitely in the character of a dance of death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella", writes Cobbett.
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Cobbett describes the third movement as the "dance of the demon fiddler". There is indeed something demonic in this fast-paced scherzo, full of syncopations and, like the other movements, dramatic leaps from
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But beyond these technical improvements, Schubert in these later works made the quartet medium his own. "He had now ceased to write quartets to order, for experimental study, or for the home circle", writes
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In the fifth variation, the second violin takes up the theme, while the first violin plays a sixteenth-note arpeggiated motif, with the cello playing the triplets in the bass. The variation grows from
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226:, that Schubert wrote in 1817. The theme of the song forms the basis of the second movement of the quartet. The theme is a death knell that accompanies the song about the terror and comfort of death.
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Musical examples are taken from the performance of the Yorkside quartet (Kensho Watanabe and Andrew Paik, violins, Jonathan Bregman, viola, Scott McCreary, cello) at Yale University, 2008.
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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
947:-sonata form, in D minor. The tarantella is a breakneck Italian dance in 6/8 time, that, according to tradition, was a treatment for madness and convulsions brought on by the bite of a
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Yorkside Quartet (Kensho Watanabe and Kisho Watanabe, violins, Jonathan Bregman, viola, Scott McCreary, cello) recorded in performance at Yale University, 2008. View the performance at
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The fourth variation is again lyrical, with the second violin and cello carrying the melody under a long violin line in triplets. This is the only variation in a major key – G major.
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Here the triplet motif of the opening of the quartet also reappears, in disguised form. Then the chorale theme recurs, leading to the second statement of the main section.
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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
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that cause the listener to lose all sense of downbeat. This leads into a recapitulation of the second section, and then a return of the main section of the rondo.
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94:. But, writes Walter Willson Cobbett, all four movements of the quartet are welded "into a unity under the pressure of a dominating idea - the dance of death."
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introduction, Schubert establishes the elements that will carry through the entire movement. The quartet begins with a unison D, played fortissimo, and a
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playing a dancing descant above the melody line in the lower voices, then the viola takes the melody as the first violin plays high eighth notes.
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repertoire". It was composed in 1824, after the composer suffered from a serious illness and realized that he was dying. It is named for the
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In the second variation, the cello carries the theme, with the first violin playing the pulsating role – this time in sixteenth notes.
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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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a kind of para-liturgy", he writes. Each movement is about a different episode in the mythic process of death and resurrection.
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Kessler, Deborah (1997). "The Maiden's Struggle and its Tonal Aftermath in the First Movement of Schubert's D Minor Quartet".
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The quartet was first played in 1826 in a private home, and was not published until 1831, three years after Schubert's death.
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After 1820, Schubert returned to the string quartet form, which he had last visited as a teenager. He wrote the one-movement
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After the initial reading of the quartet in 1826, the quartet was played again at a house concert in the home of composer
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for string quartet, contrabass, clarinet, horn and bassoon, more than 20 songs, and numerous light pieces for piano.
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The third section of the rondo begins. This is a complex, involuted section with chromatic swirls of triplets and
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The movement is built of sections. The first, main section recurs between each of the subsequent sections.
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Yet, despite his bad health, poverty and depression, Schubert continued to turn out the tuneful, light and
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The triplet motif is transmuted into a connecting theme of its own, leading to the second theme in
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In a testament to the work's enduring popularity, it has been the most played string quartet in
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The scherzo is a short movement, serving as an interlude leading to the frenetic last movement.
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to publish a batch of works, and received almost no payment; and his latest attempt at opera,
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Inside Chamber Music: Schubert, Death and the Maiden Quartet - Discussion of the full quartet
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So strong is the association of death with the quartet that some analysts consider it to be
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Schubert wrote the D minor quartet in March 1824, within weeks of completing the A minor
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Down bow on the upbeat, up bow on the downbeat. This bowing is not marked in the
1413:, p. 40. The translation is somewhat free, here is a more literal rendering:
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Development. The maiden remonstrates against Death, Death wheedles and cajoles
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For a discussion of the differences between the early and late quartets, see
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in a few years he achieved and perfected things as no one before him", wrote
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Book of Songs in Repertoire of Feodor Chaliapin, the World's Greatest Singer
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mistakenly dated the quartet to 1826, when it was first played in public.
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The quartet throughout is characterized by sudden dramatic shifts from
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incorporated the theme of the second movement into his string quartet
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string quartet – Discussion and analysis of the first two movements
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Ensemble: A Rehearsal Guide to Thirty Great Works of Chamber Music
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Here the opening themes return, with variants. The music moves to
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music that made him the toast of Viennese society: the song cycle
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The quartet has been honored by several transcriptions. In 1847,
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After two relaxed variations, the third variation returns to the
1589:"The Five Most-Often Performed String Quartets at Carnegie Hall"
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The scherzo is designed as a classical minuet: two strains in
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Schumann, "A Retrospective View", in Schumann (1946) p. 227.
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Letter to Leopold Kupelwieser, March 31, 1824, reprinted in
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Second section: a chorale melody, with triplets accompanying
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Reminiscences by Lachner published in 1881 in the Viennese
235:"Oh! leave me! Prithee, leave me! thou grisly man of bone!
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movement. This leads to a restatement of the main theme.
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Audio playback is not supported in your browser. You can
222:", D 531, a setting of the poem of the same name by
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The second theme is repeated, with an accompaniment of
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spider. Appropriately, Cobbett calls this movement "a
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Compositions by Franz Schubert published posthumously
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Third section: convoluted harmonies, offbeat rhythms
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variation expresses a profoundly different emotion.
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After the introduction, Schubert presents the first
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1185:Sherlock Holmes and the Case of the Silk Stocking
116:, was a flop. In a letter to a friend, he wrote,
1517:in the BBC Discovering Music: Listening Library.
1431:"Give me thy hand, you fair and tender creature,
78:that has been called "one of the pillars of the
1763:Heuss, Alfred (1919). "The music of Schubert".
118:
16:1824 composition for string quartet by Schubert
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1860:The Cambridge Companion to the String Quartet
251:For I'm a friend, hath ne'er distress'd thee.
8:
2028:by the Chiaroscuro Quartet with gut strings.
1692:Cobbett's Cyclopedic Survey of Chamber Music
1410:
802:character of the overall piece: a galloping
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121:yourself if such a man is not truly unhappy.
1148:The quartet has also inspired other works.
1123:made versions for full symphony orchestra.
630:Second theme, with 16th notes accompaniment
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255:Within mine arms shalt softly rest thee!"
249:"Give me thy hand, oh! maiden fair to see,
1918:International Music Score Library Project
1324:
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756:In the first variation, a lilting violin
2283:Rondo for violin and strings, D 438
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1433:I'm a friend, and do not come to punish.
1420:"Away! Ah, Away! thou cruel man of bone!
1409:Translation by P. Jurgenson, c. 1920 in
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1803:Franz Schubert and the Mysterium Magnum
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874:Third movement: Scherzo - Allegro molto
92:song he wrote in 1817 of the same title
2155:"The Shepherd on the Rock", D 965
2012:format (Creative Commons 3.0 license).
1397:
1352:
1233:. Los Angeles Philharmonic Association
1115:In the 20th century, British composer
359:
2135:String Trios D 111A, 471 and 581
2130:Sonatensatz for piano trio, D 28
1690:Cobbett, Walter Willson, ed. (1929).
1685:. New York : Botwen Printing Co.
1508:
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545:figure, that establishes the triplet
23:Death and the Maiden (disambiguation)
7:
1821:Sierra Chamber Society Program Notes
1559:Sierra Chamber Society Program Notes
1504:
377:. "The first movement of Schubert's
214:The quartet takes its name from the
129:Franz Schubert in 1825 (painting by
2140:Notturno for piano trio, D 897
2092:Sonat(in)as D 384, 385 and 408
1437:You shall sleep gently in my arms."
1145:was performed instead of speeches.
1699:Clements, Andrew (June 15, 2001).
1601:from the original on July 20, 2023
1435:Be of good courage; I am not cruel
1388:score is published by Bärenreiter.
360:Problems playing these files? See
38:Mary Flagler Cary Music Collection
14:
2374:String quartets by Franz Schubert
1776:(1). American Schubert Institute.
730:Second movement: Andante con moto
2351:
1622:Bavarian State Library Catalogue
806:figure breaks off suddenly into
466:: Allegro molto, in D minor and
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321:
303:
285:
62:String Quartet No. 14 in D minor
2006:Isabella Stewart Gardner Museum
939:The finale of the quartet is a
253:Take courage now, and very soon
237:For life is sweet, is pleasant.
2107:Fantasy in C major, D 934
1866:. Cambridge University Press.
1619:"Grand quatuor: oeuv. posth."
1422:I am still young. Go, instead.
1088:history with 56 performances.
965:character of a limping dance.
1:
2114:Arpeggione Sonata, D 821
1864:Cambridge Companions to Music
1836:. Columbia University Press.
1746:The String Quartet: a History
1657:Brown, Maurice J. E. (1982).
885:Theme of the scherzo movement
90:, which Schubert took from a
2289:Adagio and Rondo Concertante
2150:Piano Trio No. 2, D 929
2145:Piano Trio No. 1, D 898
2102:Rondo in B minor, D 895
1914:String Quartet No. 14, D 810
1858:Stowell, Robin, ed. (2003).
1191:The House That Dripped Blood
749:Theme of the second movement
520:
1981:, Chamber music society of
1677:Chaliapin, Fyodor Ivanovich
1511:, pp. 120 et seq., or
1251:Cobbett (1923), v.2, p. 360
896:Trio section of the scherzo
649:, where it continues as an
637:The sixteenth note passage
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2309:String Quintet, D 956
2097:Duo in A major, D 574
1694:. Oxford University Press.
1543:, edited by Carl Herrmann.
1141:'s state funeral in 1930,
976:Theme of the last movement
586:Main theme of the movement
401:There are four movements:
20:
2317:
1725:Music in the Romantic Era
1051:Coda of the last movement
1035:A crescendo leads to the
1744:Griffiths, Paul (1983).
1188:(BBC production, 2004),
1182:(Roman Polanski, 1972),
241:Go! leave me now alone!"
2384:Compositions in D minor
2267:No. 15, D 887
2235:No. 11, D 353
2002:Borromeo String Quartet
1892:. Pantheon Books, Inc.
1801:Ruppert, Frank (2009).
1638:Berger, Melvin (2001).
1625:retrieved 26 March 2021
1503:For more analyses, see
1227:"String Quartet No. 14
935:Fourth movement: Presto
525:download the audio file
509:First movement: Allegro
239:Go! leave me now alone!
220:Der Tod und das Mädchen
179:Der Tod und das Mädchen
52:Original manuscript of
32:Original manuscript of
2221:No. 9, D 173
2216:No. 8, D 112
1988:"Death and the Maiden"
1890:On Music and Musicians
1828:Ulrich, Homer (1966).
1782:Loft, Abraham (1992).
1765:Chamber Music Evenings
1659:The New Grove Schubert
1642:. Dover Publications.
1640:Guide to Chamber Music
1327:, pp. 95–96, and
1169:The Portrait of a Lady
1119:and American composer
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645:, finally settling on
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564:Opening of the quartet
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194:Walter Willson Cobbett
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57:
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2203:No. 7, D 94
2198:No. 6, D 74
2193:No. 5, D 68
2188:No. 4, D 46
2183:No. 3, D 36
2178:No. 2, D 32
2173:No. 1, D 18
1947:Vienna and Schubert:
1748:. Thames and Hudson.
1424:And do not touch me!"
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668:End of the exposition
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131:Wilhelm August Rieder
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2323:List of compositions
2260:Death and the Maiden
2087:For violin and piano
1994:program (44 minutes)
1949:Death and the Maiden
1924:Death and the Maiden
1703:Death and the Maiden
1514:Death and the Maiden
1507:, pp. 161–183,
1364:Composer and editor
1229:Death and the Maiden
1155:Death and the Maiden
1143:Death and the Maiden
379:Death and the Maiden
71:Death and the Maiden
68: 810, known as
54:Death and the Maiden
34:Death and the Maiden
21:For other uses, see
1960:Christopher Hogwood
1288:, pp. 106–158.
1095:transcribed it for
986:Erlkönig (Schubert)
641:through a range of
146:Die schöne Müllerin
1565:2012-09-30 at the
1297:See, for example,
1225:Rothwell, Jessie.
1070:Ignaz Schuppanzigh
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275:
189:
185:Hans Baldung Grien
135:
58:
46:
36:quartet, from the
2379:1824 compositions
2339:
2338:
2304:Octet, D 803
2000:performed by the
1812:978-1-4349-9324-3
1805:. Rosedog Press.
1786:. Amadeus Press.
1755:978-1-4349-9324-3
1649:978-0-486-41879-7
1597:. July 22, 2021.
1482:, pp. 27–33.
1411:Chaliapin c. 1920
1384:, p. 72 The
1068:, with violinist
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718:
692:
665:
627:
605:
583:
561:
529:
489:, in D minor and
344:
326:
308:
290:
224:Matthias Claudius
162:in 1820, and the
2401:
2356:
2355:
2354:
2347:
2072:
2071:
2056:
2049:
2042:
2033:
2018:
2017:Live performance
1971:
1952:
1937:
1916:: Scores at the
1903:
1882:Schumann, Robert
1877:
1847:
1835:
1816:
1797:
1777:
1768:
1759:
1740:
1729:. W. W. Norton.
1728:
1719:Einstein, Alfred
1714:
1695:
1686:
1672:
1653:
1626:
1617:
1611:
1610:
1608:
1606:
1585:
1579:
1576:
1570:
1550:
1544:
1533:
1527:
1524:
1518:
1501:
1495:
1489:
1483:
1477:
1471:
1465:
1450:
1444:
1438:
1407:
1401:
1395:
1389:
1379:
1373:
1362:
1356:
1350:
1344:
1343:, v. II, p. 357.
1338:
1332:
1331:, v. II, p. 354.
1321:
1315:
1308:
1302:
1295:
1289:
1283:
1277:
1270:
1264:
1258:
1252:
1249:
1243:
1242:
1240:
1238:
1222:
1160:adapted for film
1126:The US composer
1081:of the quartet.
1049:
1026:
1001:
974:
961:
960:
926:
925:
924:
923:
894:
883:
863:
839:Fourth variation
837:
819:
789:Second variation
787:
769:
747:
734:
733:
719:
693:
666:
628:
606:
584:
562:
513:
512:
503:
502:
501:
500:
481:
480:
479:
478:
459:
458:
457:
456:
430:
429:
428:
427:
346:
345:
328:
327:
310:
309:
292:
291:
272:
181:
74:, is a piece by
2409:
2408:
2404:
2403:
2402:
2400:
2399:
2398:
2364:
2363:
2362:
2358:Classical music
2352:
2350:
2342:
2340:
2335:
2334:
2313:
2271:
2165:
2159:
2118:
2073:
2067:
2066:
2060:
2016:
1969:
1964:Gresham College
1946:
1938:(baritone) and
1931:
1910:
1900:
1880:
1874:
1857:
1854:
1852:Further reading
1844:
1827:
1813:
1800:
1794:
1781:
1771:
1762:
1756:
1743:
1737:
1717:
1698:
1689:
1675:
1669:
1656:
1650:
1637:
1629:
1618:
1614:
1604:
1602:
1587:
1586:
1582:
1577:
1573:
1567:Wayback Machine
1551:
1547:
1534:
1530:
1525:
1521:
1502:
1498:
1490:
1486:
1478:
1474:
1470:, v. II, p. 359
1466:
1453:
1445:
1441:
1436:
1434:
1432:
1430:
1425:
1423:
1421:
1419:
1414:
1408:
1404:
1396:
1392:
1380:
1376:
1363:
1359:
1351:
1347:
1339:
1335:
1322:
1318:
1309:
1305:
1296:
1292:
1284:
1280:
1271:
1267:
1259:
1255:
1250:
1246:
1236:
1234:
1224:
1223:
1219:
1210:
1139:Fridtjof Nansen
1079:Robert Schumann
1062:
1044:
1021:
996:
969:
937:
922:
917:
916:
915:
914:
913:
889:
878:
876:
865:Fifth variation
858:
832:
821:Third variation
814:
799:Sturm und Drang
782:
771:First variation
764:
742:
732:
714:
688:
661:
623:
617:sixteenth notes
601:
579:
557:
532:
531:
530:
528:
511:
499:
494:
493:
492:
491:
490:
477:
472:
471:
470:
469:
468:
455:
450:
449:
448:
447:
446:
426:
421:
420:
419:
418:
417:
388:
367:
366:
358:
356:
355:
354:
353:
347:
340:
337:
335:Fourth movement
331:
330:
329:
322:
319:
313:
312:
311:
304:
301:
299:Second movement
295:
294:
293:
286:
283:
276:
270:
257:
254:
252:
250:
248:
243:
242:
240:
238:
236:
234:
212:
103:
26:
17:
12:
11:
5:
2407:
2405:
2397:
2396:
2394:Death in music
2391:
2386:
2381:
2376:
2366:
2365:
2361:
2360:
2337:
2336:
2333:
2332:
2331:
2330:
2319:
2318:
2315:
2314:
2312:
2311:
2306:
2301:
2293:
2285:
2279:
2277:
2273:
2272:
2270:
2269:
2264:
2255:
2246:
2237:
2232:
2223:
2218:
2213:
2205:
2200:
2195:
2190:
2185:
2180:
2175:
2169:
2167:
2161:
2160:
2158:
2157:
2152:
2147:
2142:
2137:
2132:
2126:
2124:
2120:
2119:
2117:
2116:
2111:
2110:
2109:
2104:
2099:
2094:
2083:
2081:
2075:
2074:
2069:Franz Schubert
2061:
2059:
2058:
2051:
2044:
2036:
2030:
2029:
2013:
1995:
1985:
1983:Lincoln Center
1966:
1943:
1920:
1909:
1908:External links
1906:
1905:
1904:
1898:
1878:
1872:
1853:
1850:
1849:
1848:
1842:
1825:
1817:
1811:
1798:
1792:
1779:
1769:
1760:
1754:
1741:
1735:
1715:
1696:
1687:
1673:
1667:
1654:
1648:
1628:
1627:
1612:
1580:
1571:
1545:
1541:Edition Peters
1537:urtext edition
1528:
1519:
1496:
1494:, p. 213.
1484:
1472:
1451:
1439:
1402:
1400:, p. 183.
1390:
1374:
1357:
1355:, p. 270.
1345:
1333:
1325:Griffiths 1983
1316:
1312:Griffiths 1983
1303:
1299:Griffiths 1983
1290:
1278:
1265:
1253:
1244:
1216:
1209:
1206:
1198:'s radio play
1196:Samuel Beckett
1194:(1971) and in
1164:Roman Polanski
1106:David Matthews
1099:, and in 1896
1061:
1058:
1055:
1054:
1041:
1032:
1031:
1018:
1007:
1006:
993:
980:
979:
966:
953:dance of death
936:
933:
918:
875:
872:
869:
868:
855:
843:
842:
829:
825:
824:
811:
793:
792:
779:
775:
774:
761:
753:
752:
739:
731:
728:
725:
724:
711:
699:
698:
685:
682:recapitulation
672:
671:
658:
634:
633:
620:
612:
611:
598:
590:
589:
576:
568:
567:
554:
534:
533:
522:
519:
517:
516:
510:
507:
506:
505:
495:
484:
473:
461:
451:
432:
422:
387:
384:
375:absolute music
373:, rather than
357:
348:
338:
333:
332:
320:
317:Third movement
315:
314:
302:
297:
296:
284:
281:First movement
279:
278:
277:
268:
267:
266:
228:
211:
208:
102:
99:
86:of the second
76:Franz Schubert
42:Morgan Library
15:
13:
10:
9:
6:
4:
3:
2:
2406:
2395:
2392:
2390:
2387:
2385:
2382:
2380:
2377:
2375:
2372:
2371:
2369:
2359:
2349:
2345:
2329:
2326:
2325:
2324:
2321:
2320:
2316:
2310:
2307:
2305:
2302:
2300:
2298:
2297:Trout Quintet
2294:
2292:
2290:
2286:
2284:
2281:
2280:
2278:
2274:
2268:
2265:
2263:
2262:), D 810
2261:
2258:No. 14 (
2256:
2254:
2253:), D 804
2252:
2249:No. 13 (
2247:
2245:
2244:), D 703
2243:
2240:No. 12 (
2238:
2236:
2233:
2231:
2229:
2226:No. 10 (
2224:
2222:
2219:
2217:
2214:
2212:
2210:
2206:
2204:
2201:
2199:
2196:
2194:
2191:
2189:
2186:
2184:
2181:
2179:
2176:
2174:
2171:
2170:
2168:
2162:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2127:
2125:
2121:
2115:
2112:
2108:
2105:
2103:
2100:
2098:
2095:
2093:
2090:
2089:
2088:
2085:
2084:
2082:
2080:
2076:
2070:
2064:
2063:Chamber music
2057:
2052:
2050:
2045:
2043:
2038:
2037:
2034:
2027:
2023:
2019:
2014:
2011:
2007:
2003:
1999:
1996:
1993:
1989:
1986:
1984:
1980:
1979:Bruce Adolphe
1976:
1972:
1967:
1965:
1961:
1957:
1953:
1950:
1944:
1941:
1935:
1930:
1926:
1925:
1921:
1919:
1915:
1912:
1911:
1907:
1901:
1899:9780520046856
1895:
1891:
1887:
1883:
1879:
1875:
1873:0-521-80194-X
1869:
1865:
1861:
1856:
1855:
1851:
1845:
1843:0-231-08617-2
1839:
1834:
1833:
1832:Chamber Music
1826:
1823:
1822:
1818:
1814:
1808:
1804:
1799:
1795:
1793:9780931340451
1789:
1785:
1780:
1775:
1770:
1766:
1761:
1757:
1751:
1747:
1742:
1738:
1736:9780393097337
1732:
1727:
1726:
1720:
1716:
1712:
1711:
1706:
1704:
1697:
1693:
1688:
1684:
1683:
1678:
1674:
1670:
1668:0-333-34195-3
1664:
1661:. MacMillan.
1660:
1655:
1651:
1645:
1641:
1636:
1635:
1634:
1633:
1624:
1623:
1616:
1613:
1600:
1596:
1595:
1594:Carnegie Hall
1590:
1584:
1581:
1575:
1572:
1568:
1564:
1561:
1560:
1555:
1549:
1546:
1542:
1538:
1532:
1529:
1523:
1520:
1516:
1515:
1510:
1506:
1500:
1497:
1493:
1488:
1485:
1481:
1476:
1473:
1469:
1464:
1462:
1460:
1458:
1456:
1452:
1448:
1447:Clements 2001
1443:
1440:
1428:
1417:
1412:
1406:
1403:
1399:
1394:
1391:
1387:
1383:
1378:
1375:
1371:
1367:
1366:Franz Lachner
1361:
1358:
1354:
1349:
1346:
1342:
1337:
1334:
1330:
1326:
1320:
1317:
1313:
1307:
1304:
1301:, p. 96.
1300:
1294:
1291:
1287:
1282:
1279:
1275:
1274:Einstein 1947
1269:
1266:
1263:, p. 38.
1262:
1257:
1254:
1248:
1245:
1232:
1230:
1221:
1218:
1215:
1214:
1207:
1205:
1203:
1202:
1201:All That Fall
1197:
1193:
1192:
1187:
1186:
1181:
1180:
1175:
1171:
1170:
1165:
1161:
1157:
1156:
1152:'s 1991 play
1151:
1150:Ariel Dorfman
1146:
1144:
1140:
1135:
1133:
1129:
1124:
1122:
1118:
1113:
1111:
1110:Kenneth Woods
1107:
1102:
1098:
1094:
1089:
1087:
1086:Carnegie Hall
1082:
1080:
1074:
1071:
1067:
1066:Franz Lachner
1059:
1042:
1038:
1034:
1033:
1019:
1017:
1015:
1009:
1008:
994:
991:
987:
982:
981:
967:
963:
962:
959:
956:
954:
950:
946:
942:
934:
932:
929:
921:
910:
908:
904:
873:
856:
853:
849:
845:
844:
830:
827:
826:
812:
809:
805:
801:
800:
795:
794:
780:
777:
776:
762:
759:
755:
754:
740:
736:
735:
729:
712:
709:
705:
701:
700:
686:
683:
678:
674:
673:
659:
656:
652:
651:accompaniment
648:
644:
640:
636:
635:
621:
618:
614:
613:
599:
596:
592:
591:
577:
574:
570:
569:
555:
552:
548:
544:
540:
536:
535:
526:
515:
514:
508:
498:
488:
485:
483:
476:
465:
462:
454:
444:
440:
437:con moto, in
436:
433:
425:
415:
411:
407:
404:
403:
402:
399:
397:
393:
385:
383:
380:
376:
372:
365:
363:
352:
336:
318:
300:
282:
265:
263:
256:
246:
232:
227:
225:
221:
217:
209:
207:
205:
203:
197:
195:
186:
182:
180:
174:
170:
167:
166:
161:
160:
154:
152:
148:
147:
142:
141:
132:
127:
122:
117:
115:
114:
109:
100:
98:
95:
93:
89:
85:
81:
80:chamber music
77:
73:
72:
67:
63:
55:
50:
43:
39:
35:
30:
24:
19:
2299:, D 667
2296:
2291:, D 487
2288:
2259:
2257:
2250:
2242:Quartettsatz
2241:
2230:), D 87
2227:
2211:, D 103
2209:Quartettsatz
2208:
2026:Wigmore Hall
1948:
1940:Boris Cepeda
1929:Peter Schöne
1923:
1889:
1886:Konrad Wolff
1859:
1831:
1820:
1802:
1783:
1774:TASI Journal
1773:
1764:
1745:
1724:
1710:The Guardian
1708:
1702:
1691:
1681:
1658:
1639:
1631:
1630:
1621:
1615:
1603:. Retrieved
1592:
1583:
1574:
1558:
1556:, retold at
1553:
1548:
1531:
1522:
1513:
1499:
1492:Ruppert 2009
1487:
1480:Kessler 1997
1475:
1468:Cobbett 1929
1442:
1426:
1415:
1405:
1393:
1377:
1372:, p. 41
1360:
1348:
1341:Cobbett 1929
1336:
1329:Cobbett 1929
1319:
1314:, p. 96
1306:
1293:
1281:
1276:, p. 88
1268:
1256:
1247:
1235:. Retrieved
1228:
1220:
1212:
1211:
1199:
1189:
1183:
1177:
1174:Jane Campion
1167:
1153:
1147:
1142:
1136:
1132:Black Angels
1128:George Crumb
1125:
1114:
1093:Robert Franz
1090:
1083:
1075:
1063:
1036:
1011:
989:
957:
938:
930:
919:
911:
906:
902:
899:
851:
847:
807:
803:
797:
608:Second theme
496:
474:
452:
423:
400:
389:
378:
371:programmatic
368:
258:
244:
230:
229:
213:
201:
198:
190:
176:
163:
159:Quartettsatz
157:
155:
144:
138:
136:
119:
111:
104:
96:
70:
69:
61:
59:
53:
33:
18:
2228:Haushaltung
1992:BBC Radio 3
1932: [
1701:"Schubert:
1679:(c. 1920).
1398:Berger 2001
1353:Ulrich 1966
1237:November 1,
1162:in 1994 by
1117:John Foulds
1037:Prestissimo
677:development
414:common time
210:Inspiration
101:Composition
2368:Categories
1509:Heuss 1919
1416:The Maiden
1382:Brown 1982
1370:Brown 1982
1310:quoted in
1286:Brown 1982
1261:Brown 1982
1208:References
1121:Andy Stein
1097:piano duet
941:tarantella
907:pianissimo
903:fortissimo
852:fortissimo
848:pianissimo
804:fortissimo
537:In the 14-
396:pianissimo
392:fortissimo
362:media help
262:tarantella
231:The Maiden
113:Fierrabras
44:, New York
2251:Rosamunde
2004:from the
1998:Recording
1505:Loft 1992
1176:, 1996),
1060:Reception
949:tarantula
639:modulates
202:Rosamunde
165:Rosamunde
140:gemĂĽtlich
2328:by genre
2166:Quartets
1884:(1952).
1721:(1947).
1605:July 20,
1599:Archived
1563:Archived
1204:(1962).
1014:hemiolas
443:cut time
386:Analysis
108:Diabelli
88:movement
2022:YouTube
1975:YouTube
1956:YouTube
1942:(piano)
1888:(ed.).
1632:Sources
1569:(2006).
990:Andante
758:descant
704:D major
655:A minor
647:A major
595:F major
551:chorale
543:triplet
539:measure
464:Scherzo
439:G minor
435:Andante
410:D minor
406:Allegro
351:YouTube
204:quartet
2344:Portal
2164:String
1896:
1870:
1840:
1824:(2006)
1809:
1790:
1752:
1733:
1665:
1646:
1554:Presse
1386:urtext
1101:Mahler
487:Presto
187:, 1517
149:, the
2276:Other
2123:Trios
1936:]
1427:Death
1213:Notes
1179:What?
945:rondo
808:piano
573:theme
547:motif
408:, in
245:Death
151:octet
84:theme
2079:Duos
1894:ISBN
1868:ISBN
1838:ISBN
1807:ISBN
1788:ISBN
1750:ISBN
1731:ISBN
1663:ISBN
1644:ISBN
1607:2023
1239:2017
1108:and
708:coda
675:The
643:keys
504:time
482:time
441:and
412:and
216:lied
60:The
56:lied
2065:by
2024:at
2020:on
2010:MP3
2008:in
1973:on
1954:on
1137:At
1112:).
955:".
943:in
905:to
850:to
394:to
2370::
1990:,
1977:,
1962:,
1958:,
1934:de
1927:,
1862:.
1707:.
1591:.
1454:^
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