tracks

[Disc 1]
1. Introduction, origins
2. Imagery, analogy and the shape of the things to come; the opening flourish
3. The unusual presence of the double-bass
4. A palette of tone colours and the emergence of a theme
5. Trouble getting off the ground, but the key is not in doubt
6. Jumping the quene: Schubert takes a lesson from Mozart
7. Mozart demonstrates a traditional transition
8. Destination clarified
9. Mozart confirms our arrival
10. A Schubertian shocker from a later work
11. Rejoining the Trout, with a reminder
12. The piano joins the strings with yet a third variant of the theme
13. A rhythmic motto: the triplet motif
14. We get it here
15. We get it there
16. We find it everywhere, even in the double-bass
17. The strings answer to the pianos opening flourish
18. The two-part structure of the answering motif...
19. ...but scarcely ever the same way twice
20. The piano and strings now share the material for the first time
21. Conversation as the first principle of chamber music
22. Opening (introductory) section heard complete
23. The violin and double-bass in partnership
24. The violin and piano swap roles
25. Transition to second main theme; triplets now everywhere
26. On the threshold of the new theme
27. Second main theme (a love duet), shared by cello and viola
28. The abandonment of octaves in the piano changes the tone colour
29. A surprising change of tone and a premonition
30. A return to lyricism, but the cello jumps the gun
31. A buoyant, skipping new theme is given to the solo piano
32. Re-entry of the strings as the violin takes up the new theme
33. A transitional theme, and another Schubertian key-jump
34. We sense the imminent arrival of the closing theme
35. A sudden, hushed key-change introduces part two of the closing theme
36. The exposition comes to an end
37. Cue to complete exposition
38. Expositon complete
39. Introduction to the development; the genetic code of key
40. The contrasting aural properties of piano and violin
41. The ponderous double-bass is featured in the first main theme
42. The strings are liberated from servitude, but are a long way from home
43. A joyful conversation and a change of pace in the piano
44. The piano takes the melodic lead again
45. A conversation between violin and piano leads to the exposition...
46. ...but Schubert gets it wrong
47. First movement (complete)
48. Introduction to second movement
49. The violin now takes theme one
50. The piano regains the theme
51. The violin and piano round off first section with the new closing theme
52. A major change of tone: a passing cloud and a dark new key
53. The piano abandons its octaves, but not its triplets, in the new Hungarian theme
54. The sun returns with a new theme, in two contrasting parts
55. An evaporating dialogue between violin and piano
56. A major mood change as twilight falls
57. Cue to whole movement
58. Second movement (complete)
[Disc 2]
1. Introduction to the Scherzo - and a clear four-bar phrase...
2. ...answered by two two-bar phrases
3. A disconcerting echo
4. Expectation, frustration and surprise
5. The phrase length expands from nine to fourteen bars
6. The beginning of the second half...
7. ...or should it go from G minor to D major?
8. Doubts are sown as the tonality becomes elusive
9. A varied reprise of part one, and the end of the Scherzo proper
10. A conversational start to the Trio section
11. Another Schubertian phrase extension
12. Two overlapping phrases add up to a single theme
13. The piano adds a third phrase to the overlap
14. The overlaps continue as the key drifts downwards
15. Another Schubertian key-jump, now to B flat
16. A dramatic transformaton of mood
17. Awakening from a dream: the main themes return
18. Cue to complete Scherzo
19. Third movement (complete)
20. Enter the trout, at last; a meeting with the original
21. Back to the Quintet: the strings, headed by the violin, introduce the theme
22. The first variation
23. The second variation
24. The third variation
25. The fourth variation, part one
26. The fourth variation, part two
27. The fifth variation
28. The final variation, part one: violin and piano alone introduce the theme
29. The final variation, part two: the cello takes the tune
30. The final variation, part three: piano and violin return as a duo...
31. The final variation, part four:...as do the viola and cello
32. The final variation, part five: the entire ensemble is reunited
33. Fourth movement (complete)
34. Introduction to the Finale: Schubert as wizard of repetition
35. Easily overlooked: the accompaniment from cello and double-bass
36. Contrasts of timbre and register
37. A repetition, and yet not a repetition
38. A journey begun: the phenomenon of musical gravity
39. The journey completed
40. The source of musical gravity
41. The Pianists (Excerpt)
42. A scale of shifting tensions
43. Finale (Excerpt)
44. Back to Schubert
45. The piano embellishes a scalewise descent
46. A retrospective moment
47. Repetition more apparent than real
48. A taste of phrase rhythm
49. Shifting patterns of accentuation
50. The section reviewed
51. An increasingly sophisticated texture as parts interact
52. More phrase rhythm
53. A repetition from the strings...
54. ....and an answer from the piano
55. In transition to the secondary key
56. The orgin of the second theme
57. The second main theme
58. The closing section begins, with a question answered
59. The question repeated, a slightly different answer
60. First theme of closing section reviewed
61. Remembrance of things past
62. The piano and strings argue over the harmony
63. Emergence of the final theme
64. An unexpected thunderstorm
65. The sound of silence
66. Cue to complete Finale
67. Finale (complete)

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