122:, B-flat, with rhythm not quite the same as that of the lyrical theme that slowed matters down early on (bar fourteen, again), and adding to the texture with pizzicato accompaniment. There is a triplet-dominated, agitated transition and the same theme is heard, now in D, with triplet accompaniments; the triplets, not the theme, continue to the end of the exposition, and descend gradually from D down to G major for the repeat, or for the second ending and the beginning of the development, where continuity means the continued rustling of quiet strings, building for a bit by exchanging with more energetic passages, then bringing in faster versions of the dotted rhythms of the main themes. The climax of the development leads to a particularly quiet recapitulation, much varied at its opening from what we had heard originally. In the coda the opening of the quartet, both its rhythm and its major/minor exchanges, get a further chance to play themselves out.
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The scherzo is light-textured, fleet for much of its span, foreshadowing those of
Mendelssohn. The trio is a mild accompanied duet, first between cello and first violin, then first violin and viola, then again cello and first violin. The trio's theme played by the cello is a reiteration of the second
147:
to the lowest string, and again much use of tremolo. This movement utilizes dramatic variations of ideas between subsequent episodes. The first episode containing a harmonically static solo in the cello accompanied by pizzicato. It abruptly shifts to a fortissimo episode in m. 43 reinforced by way of
130:
connecting these major thirds, the result of which is a whole tone descent in the bass-voice, in this case the cello. The following major third prolongations occur: G(mm. 414-416) E-flat (mm. 417-418) B(mm. 419-420) G(mm. 421-422) E-flat(423-426). In measure 426 Schubert enharmonically reinterprets
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movement theme, also played by the cello. The third movement can be seen as a replication in form from the preceding movement. Here the scherzo and trio trade themes and in the second movement the theme and episodes similarly trade themes.
125:
There is a remarkably innovative harmonic passage in the first movement. Between mm. 414 and 429 Schubert prolongs G major with an equal subdivision of the octave using major thirds. Passing seventh chords in the bass provide a smooth
215:, Stephen Johnson referred to the work as Schubert's greatest string quartet, and speculated that it is heard less frequently than the composer's previous two quartets not because of lower quality but because it is less accessible.
95:. The main lyrical theme of the movement which begins with a sixteenth note pickup to a dotted eighth note will be heard in many variations throughout the rest of the movements of the quartet. The first movement features extensive
35:
161. The work focuses on lyrical ideas and explores far-reaching major and minor modes, which was uncommon to this degree in his compositions. Schubert reinforced this with a range of dynamic contrast and use of texture and
99:, which also leads into the repeat of the exposition. While many composers deconstruct a theme to smaller and smaller parts, Schubert is known for his lyricism and instead continually expands the theme.
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206:, parts of the Allegro molto moderato (including the dotted rhythm of the opening) are used as a dramatic measure during several scenes that form central parts of the 'crimes' plot.
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or G minor. The opening theme has more rapid extremes in its exchanges between major and minor modes than that of the first movement. The rhythms are reminiscent of a
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40:. The structural form of the movements in this quartet are somewhat ambiguous due to Schubert's focus on lyricism rather than traditional harmonic structure.
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unisons in rhythms and octaves. This dramatic return of the theme from the first idyllic one is unlike the resolution of the theme in the first movement.
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The finale continues the ambiguous form of the preceding movements in an extended movement where it is unclear if the movement is in
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Frisch, Walter (2000). "'You Must
Remember This': Memory and Structure in Schubert's String Quartet in G Major, D. 887".
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this dominant-seventh structure, resolving it as a German augmented 6th, thus proceeding bVI-V-I in mm. 427-429.
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The first movement is based around a motive of chromatic descending fourths within alternating major and minor
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Schubert's String
Quartet No. 15 in G major (D. 887) has been recorded by many quartets, including:
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Burstein, Poundie (1997). "Lyricism, Structure, and Gender in
Schubert's G Major String Quartet".
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The dramatic slow movement contains much in the way of a march rhythm and sudden upward violin
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The length of performance of the quartet is about 50 minutes, if all repeats are observed.
514:"String Quartet in G major, D.887 (Schubert, Franz) - IMSLP: Free Sheet Music PDF Download"
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The quartet was first published no later than 1852, by
Diabelli of Vienna.
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417:. The Schubert Institute (UK). Archived from the original on July 18, 2011
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618:(2nd ed.). San Diego: Harcourt Brace Jovanovich. pp. 544–5.
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and similar to the technique in some works by
Beethoven — not in the
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110:; the second group opens, exactly as happens in the later-written
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185:— which the movement resembles in some capricious qualities.
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Skálholt String
Quartet (historically informed performance)
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in June 1826. It was posthumously published in 1851, as
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by
Musicians from Ravinia's Steans Institute from the
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Compositions by Franz
Schubert published posthumously
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to connect the first and second main groups of this
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684:"Schubert: String Quartet No. 15 in G Major, D887"
152:III. Scherzo. Allegro vivace – Trio. Allegretto
488:Brown, Maurice John Edwin; Sams, Eric (1983).
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492:. W. W. Norton & Company. p. 72.
718:International Music Score Library Project
614:Aldwell, Edward; Schachter, Carl (1989).
994:Rondo for violin and strings, D 438
102:This may include the use of a motive in
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465:10.1093/gmo/9781561592630.article.25109
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48:The four movements of the quartet are:
866:"The Shepherd on the Rock", D 965
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846:String Trios D 111A, 471 and 581
841:Sonatensatz for piano trio, D 28
27:887, was the last quartet written by
7:
723:Performance of String Quartet No. 15
851:Notturno for piano trio, D 897
803:Sonat(in)as D 384, 385 and 408
415:"Schubert Worklist (Chamber Music)"
118:key but with a quiet theme in the
14:
1085:String quartets by Franz Schubert
290:historically informed performance
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727:Isabella Stewart Gardner Museum
660:"Schubert String Quartet, D887"
658:Johnson, Stephen (2013-01-09).
818:Fantasy in C major, D 934
1:
825:Arpeggione Sonata, D 821
449:"Schubert, Franz ( Peter )".
1000:Adagio and Rondo Concertante
861:Piano Trio No. 2, D 929
856:Piano Trio No. 1, D 898
813:Rondo in B minor, D 895
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1020:String Quintet, D 956
808:Duo in A major, D 574
686:. Presto Classical Limited
647:Hofmeisters Monatsberichte
355:New Zealand String Quartet
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616:Harmony and voice leading
434:: CS1 maint: unfit URL (
350:New Orford String Quartet
87:I. Allegro molto moderato
18:String Quartet No. 15 in
316:Juilliard String Quartet
135:II. Andante un poco moto
55:molto moderato (G major)
1095:Compositions in G major
978:No. 15, D 887
946:No. 11, D 353
714:Schubert Quartet No. 15
457:Oxford University Press
203:Crimes and Misdemeanors
79:Allegro assai (G major)
932:No. 9, D 173
927:No. 8, D 112
739:of the G major quartet
490:The New Grove Schubert
336:Leipzig String Quartet
281:Emerson String Quartet
181:, as with that of the
58:Andante un poco moto (
914:No. 7, D 94
909:No. 6, D 74
904:No. 5, D 68
899:No. 4, D 46
894:No. 3, D 36
889:No. 2, D 32
884:No. 1, D 18
581:The Musical Quarterly
546:The Musical Quarterly
200:'s 1989 comedy-drama
1034:List of compositions
971:Death and the Maiden
798:For violin and piano
737:Schubert's autograph
709:Autograph manuscript
664:www.gramophone.co.uk
386:Tokyo String Quartet
276:Doric String Quartet
266:Chilingirian Quartet
558:10.1093/mq/84.4.582
360:Oslo String Quartet
286:Fitzwilliam Quartet
68:. Allegro vivace –
593:10.1093/mq/81.1.51
452:Grove Music Online
370:Quartetto Italiano
340:Mandelring Quartet
229:Alban Berg Quartet
128:linear progression
1090:1826 compositions
1050:
1049:
1015:Octet, D 803
499:978-0-393-31586-8
474:978-1-56159-263-0
311:Hungarian Quartet
306:Hugo Wolf Quartet
261:Cherubini Quartet
161:IV. Allegro assai
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552:(4): 582–603.
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72:. Allegretto (
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688:. Retrieved
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587:(1): 51–63.
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419:. Retrieved
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391:Végh Quartet
331:Kuss Quartet
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143:followed by
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939:Haushaltung
198:Woody Allen
108:sonata form
1079:Categories
669:2017-11-25
523:2021-04-28
421:2011-07-18
401:References
219:Recordings
212:Gramophone
179:tarantella
141:glissandos
962:Rosamunde
518:imslp.org
346:Stuttgart
38:pizzicato
1039:by genre
877:Quartets
634:19029983
459:. 2001.
430:cite web
116:dominant
104:triplets
44:Analysis
252:Quartet
250:Brandis
120:mediant
97:tremolo
74:B minor
66:Scherzo
60:E minor
53:Allegro
20:G major
1055:Portal
875:String
733:format
690:24 May
632:
622:
601:742449
599:
566:742597
564:
496:
471:
167:sonata
987:Other
834:Trios
597:JSTOR
562:JSTOR
175:major
171:rondo
145:drops
93:modes
790:Duos
692:2014
630:OCLC
620:ISBN
494:ISBN
469:ISBN
436:link
173:, G
70:Trio
16:The
776:by
731:MP3
729:in
589:doi
554:doi
461:doi
209:In
196:In
169:or
33:Op.
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662:.
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585:81
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550:84
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432:}}
428:{{
25:D.
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