|
No. |
Title |
Length |
| 1. |
Introduction, Origins |
1:39 |
| 2. |
Imagery, Analogy and the Shape of the Things to Come - The Opening Flourish |
1:50 |
| 3. |
The Unusual Presence of the Double-Bass |
0:54 |
| 4. |
A Palette of Tone Colours and the Emergence of a Theme |
0:47 |
| 5. |
Trouble Getting Off the Ground, But the Key Is Not In Doubt |
0:49 |
| 6. |
Jumping the Queue: Schubert Takes a Lesson from Mozart |
1:33 |
| 7. |
Mozart Demonstrates a Traditional Transition |
0:33 |
| 8. |
Destination Clarified |
0:07 |
| 9. |
Mozart Confirms Our Arrival |
0:08 |
| 10. |
A Schubertian Shocker from a Later Work |
0:52 |
| 11. |
Rejoining the "Trout", With a Reminder |
0:27 |
| 12. |
The Piano Joins the Strings With Yet a Third Variant of the Theme |
0:31 |
| 13. |
A Rhythmic Motto: The "Ttriplet Motif" |
1:26 |
| 14. |
We Get It Here |
0:17 |
| 15. |
We Get It There |
0:17 |
| 16. |
We Find It Everywhere, Even In the Double-Bass |
0:27 |
| 17. |
The Strings' Answer to the Piano's Opening Flourish |
0:36 |
| 18. |
The Two-Part Structure of the "Answering Motif"... |
0:24 |
| 19. |
...But Scarcely Ever the Same Way Twice |
0:34 |
| 20. |
The Piano and Strings Now Share the Material for the First Time |
0:42 |
| 21. |
Conversation As the First Principle of Chamber Music |
0:43 |
| 22. |
Opening (Introductory) Section Heard Complete |
1:01 |
| 23. |
The Violin and Double-Bass In Partnership |
1:16 |
| 24. |
The Violin and Piano Swap Roles |
0:59 |
| 25. |
Transition to Second Main Theme - Triplets Now Everywhere |
1:12 |
| 26. |
On the Threshold of the New Theme |
0:30 |
| 27. |
Second Main Theme (A "Love Duet"), Shared By Cello and Viola |
1:24 |
| 28. |
The Abandonment of Octaves In the Piano Changes the Tone Colour |
1:07 |
| 29. |
A Surprising Change of Tone and a Premonition |
0:39 |
| 30. |
A Return to Lyricism, But the Cello Jumps the Gun |
0:37 |
| 31. |
A Buoyant, Skipping New Theme Is Given to the Solo Piano |
0:36 |
| 32. |
Re-entry of the Strings As the Violin Takes Up the New Theme |
0:25 |
| 33. |
A Transitional Theme, and Another Schubertian Key-Jump |
1:33 |
| 34. |
We Sense the Imminent Arrival of the Closing Theme |
1:31 |
| 35. |
A Sudden, Hushed Key-Cchange Introduces Part Two of the Closing Theme |
0:40 |
| 36. |
The Exposition Comes to an End |
0:32 |
| 37. |
Cue to Complete Exposition |
0:06 |
| 38. |
Music: Exposition Complete |
4:09 |
| 39. |
Introduction to the Development - The Genetic Code of "Key" |
7:20 |
| 40. |
The Contrasting Aural Properties of Piano and Violin |
1:03 |
| 41. |
The Ponderous Double-Bass Is Featured In the First Main Theme |
0:49 |
| 42. |
The Strings Are Liberated from Servitude, But Are a Long Way from Home |
0:42 |
| 43. |
A Joyful Conversation and a Change of Pace In the Piano |
1:06 |
| 44. |
The Piano Takes the Melodic Lead Again |
0:31 |
| 45. |
A Conversation Between Violin and Piano Leads to the Exposition... |
1:20 |
| 46. |
...But Schubert Gets It "Wrong" |
1:35 |
| 47. |
Music: First Movement (Complete) |
9:09 |
| 48. |
Introduction to Second Movement |
1:53 |
| 49. |
The Violin Now Takes Theme One |
0:29 |
| 50. |
The Piano Regains the Theme |
0:42 |
| 51. |
The Violin and Piano Round Off First Section With the New "Closing" Theme |
0:35 |
| 52. |
A Major Change of Tone: A Passing Cloud and a Dark New Key |
1:19 |
| 53. |
The Piano Abandons Its Octaves, But Not Its Triplets, In the New "Hungarian" Theme |
1:28 |
| 54. |
The Sun Returns With a New Theme, In Two Contrasting Parts |
1:21 |
| 55. |
An Evaporating Dialogue Between Violin and Piano |
0:58 |
| 56. |
A Major Mood Change As Twilight Falls |
1:12 |
| 57. |
Cue to Whole Movement |
0:32 |
| 58. |
Music: Second Movement (Complete) |
7:30 |
| 59. |
Introduction to the Scherzo - And a Clear Four-Bar Phrase... |
1:37 |
| 60. |
..."Answered" By Two Two-Bar Phrases |
0:21 |
| 61. |
A Disconcerting "Echo" |
1:02 |
| 62. |
Expectation, Frustration and Surprise |
0:27 |
| 63. |
The Phrase Length Exands from Nine to Fourteen Bars |
0:36 |
| 64. |
The Beginning of the Second Half... |
1:07 |
| 65. |
...Or Should It Go from G Minor to D Major? |
0:08 |
| 66. |
Doubts Are Sown As the Tonality Becomes Elusive |
0:48 |
| 67. |
A Varied Reprise of Part One, and the End of the Scherzo Proper |
0:33 |
| 68. |
A Conversational Start to the Trio Section |
0:40 |
| 69. |
Another Schubertian Phrase Extension |
0:25 |
| 70. |
Two Overlapping Phrases Add Up to a Single Theme |
0:22 |
| 71. |
The Piano Adds a Third Phrase to the Overlap |
0:32 |
| 72. |
The Overlaps Continue As the Key Drifts Downwads |
0:36 |
| 73. |
Another Schubertian Key-Jump, Now to B Flat |
0:45 |
| 74. |
A Dramatic Transformation of Mood |
0:52 |
| 75. |
Awakening from a Dream: The Main Theme's Return |
0:51 |
| 76. |
Cue to Complete Scherzo |
0:11 |
| 77. |
Music: Third Movement (Complete) |
3:52 |
| 78. |
Enter the Trout, At Last - A Meeting With the Original |
0:30 |
| 79. |
Music: "Die Forelle" |
1:59 |
| 80. |
Back to the Quintet: The Strings, Headed By the Violin, Introduce the Theme |
1:24 |
| 81. |
The First Variation |
1:41 |
| 82. |
The Second Variation |
1:14 |
| 83. |
The Third Variation |
1:20 |
| 84. |
The Fourth Variation, Part One |
1:33 |
| 85. |
The Fourth Variation, Part Two |
0:57 |
| 86. |
The Fifth Variation |
2:44 |
| 87. |
The Final Variation, Part One: Violin and Piano Alone Introduce the Theme |
0:31 |
| 88. |
The Final Variation, Part Two: The Cello Takes the Tune |
0:25 |
| 89. |
The Final Variation, Part Three: Piano and Violin Return As a Duo... |
0:25 |
| 90. |
The Final Variation, Part Four: ...As Do the Viola and Cello |
0:17 |
| 91. |
The Final Variation, Part Five: The Entire Ensemble Is Reunited |
0:39 |
| 92. |
Music: Fourth Movement (Complete) |
7:09 |
| 93. |
Introduction to the Finale: Schubert As Wizard of Repetition |
2:17 |
| 94. |
Easily Overlooked: The Accompaniment from Cello and Double-Bass |
0:36 |
| 95. |
Contrasts of Timbre and Register |
0:59 |
| 96. |
A Repetition, and Yet Not a Repetition |
0:07 |
| 97. |
A Journey Begun - The Phenomenon of Musical Gravity |
0:22 |
| 98. |
The Journey Completed |
0:16 |
| 99. |
The Source of Musical Gravity |
0:22 |
| 100. |
Music: St. Saens - The Carnival of the Animals "The Pianists" |
0:28 |
| 101. |
A Scale of Shifting Tensions |
0:49 |
| 102. |
Music: Beethoven, Symphony No. 1 (Finale) |
0:37 |
| 103. |
Back to Schubert |
0:39 |
| 104. |
The Piano Embellishes a Scalewise Descent |
0:18 |
| 105. |
A Retrospective Moment |
0:33 |
| 106. |
Repetition More Apparent Then Real |
1:02 |
| 107. |
A Taste of Phrase Rhythm |
1:26 |
| 108. |
Shifting Patterns of Accentuation |
0:27 |
| 109. |
The Section Reviewed |
0:15 |
| 110. |
An Increasingly Sophisticated Texture As Parts Interact |
0:46 |
| 111. |
More Phrase Rhythm |
0:29 |
| 112. |
A Repetition from the Strings... |
0:11 |
| 113. |
...And an Answer from the Piano |
0:13 |
| 114. |
In Transition to the Secondary Key |
0:51 |
| 115. |
The Origin of the Second Theme |
0:19 |
| 116. |
The Second Main Theme |
0:38 |
| 117. |
The Closing Section Begins, With a Question Answered |
0:42 |
| 118. |
The Question Repeated, a Slightly Differnet Answer |
0:28 |
| 119. |
First Theme of Closing Section Reviewed |
0:59 |
| 120. |
Remembrance of Things Past |
0:28 |
| 121. |
The Piano and Strings Argue Over the Harmony |
1:13 |
| 122. |
Emergence of the Final Theme |
0:24 |
| 123. |
An Unexpected Thunderstorm |
0:51 |
| 124. |
The Sound of Silence |
1:29 |
| 125. |
Cue to Complete Finale |
1:00 |
| 126. |
Music: Finale (Complete) |
6:47 |
