Classical Music | Violin Music

Franz Schubert

Piano Trio in E-flat Major, D. 929  Play

Robyn Bollinger Violin
Andrea Casarrubios Cello
Ronaldo Rolim Piano

Recorded on 07/18/2013, uploaded on 01/06/2014

Musician's or Publisher's Notes

Beset by the illness that would ultimately claim his life, Franz Schubert triumphed over his failing health during his final years to produce some of his most profound masterpieces. 1826 saw the completion of the “Great” Symphony in C major, and the String Quintet in D minor (which included the variations on “Death and the Maiden”). The following year, he produced the somber song cycle Winterreise, the Impromptus, and the two piano trios; while 1828, Schubert’s final year, saw the composition of the colossal C major Quintet for strings, the last piano sonatas, and the ethereal songs of Schwanengesang.

The two piano trios of 1827, like the other chamber of works of Schubert’s last years, are extensive compositions, stretching the boundaries of their form to vast symphonic proportions. Of the two, however, the second in E-flat major is widely considered the more substantial composition. Indeed, Schubert himself thought the E-flat Trio to be superior to its companion piece. It was performed in January 1828 at a private party for the engagement of Josef von Spaun, a friend of Schubert’s who had long encouraged his compositional efforts. It would be one of the few of his late compositions that Schubert would hear performed before his death.

Cast in four spacious movements, the Piano Trio No. 2 is nearly an hour in length. The opening Allegro begins with a clean-cut theme, somewhat reminiscent of Beethoven in its stressing of the tonic triad, yet unmistakably Schubert. Two more theme follow in the exposition: the first puts on display Schubert’s penchant for curious modulations as E-flat minor is almost miraculously transformed into B minor, while the third takes up in the more conventional key of B-flat major. Overall, the first movement certainly looks forward to works of later composer in its variety and modulations. The following Andante is quite possibly the best-known movement, having made many appearances in both TV shows and films, and is a passionate movement that builds to an uncertain climax. Its doleful theme in C minor owes its origins to a Swedish folksong.

The blithe scherzo third movement unfolds as a canon between the strings and piano. The strict imitation is eventually lost but the friendly discourse of the instrument is never interrupted. In contrast, the trio section is particularly energetic with its sharp accents and vigorous tremolandi. Closing the work is a lengthy finale that continues at first the blithe feeling of the scherzo. However, the mood turns darker as the movement approaches its second theme, which then unfolds in a series of variations before making a dramatic return to the first theme. Curiously, yet to great effect, Schubert recalls the second movement’s theme during the course of the finale’s development section. This theme returns again shortly before the movement’s conclusion from which the work builds to a triumphant conclusion.       Joseph DuBose


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