From the program guide for a concert by the Danish String Quartet. It was written by a writer and researcher on staff at a highly esteemed venue in the Washington, DC area.
Franz Schubert: String Quartet in G major, D. 887
"The third movement is an effective scherzo. Although the larger form is entirely standard (with the Scherzo marked Allegro vivace and the Trio marked Allegretto), the key relationships between the two sections are slightly unusual. If it had been performed, listeners at the time might have expected, with a first section in B minor, for the second section to be in D major, or perhaps F-sharp major. But Schubert's harmonically adventurous music thwarted the usual expectations and moved from B minor to G major. The opening motive of six eighth notes followed by three quarter notes permeates the scherzo section, and the detached quality of the scherzo is transformed into a gently rocking legato in the trio. From simple materials Schubert has built a capricious, enchanting wisp of a movement."
***** ***** *****
What happened here? Who is the intended audience?
For academics, I presume this is relevant, interesting, and informative.
But for the millions of concert goers who love music, but have minimal experience with music theory and composition, there must be something more relevant and engaging.
***** ***** ***** *****
We often hear of music described as "otherworldly" -- music that transports us to a magical, mystical, and nameless place. "Otherworldly" effects are often associated with composer Franz Schubert.
Scholars describe his final string quartet as "supernatural," especially in the uncertain way the quartet begins, switching back and forth from major to minor keys. Schubert seems unwilling to commit to either vibe, adding to listener insecurity. Yet, a certain timelessness spreads throughout the entire work, adding to its mystical, otherworldly effects.
Schubert often asks the performers to play softly throughout the quartet, but speaking softly can speak volumes, adding tension, urgency, and sudden shocks to our nervous system. Listen for how those seemingly quiet moments turn sinister.
Beethoven was writing his own final string quartet at the same time. That quartet is a dramatic journey with a resolution. Contrast that with Schubert's last string quartet where there is no defined destination or resolution -- it only leaves us with questions, not requiring answers, only acquiescence.
Schubert was fond of restating melodies and melodic fragments multiple times, often in varied moods and personalities each time they returned. The repetition of the seven note fragment in the quartet's slow movement is probably a record number of repeats, even for Schubert.
And it might be one of very few stable moments in the entire quartet.
***** ***** ***** *****
The best way to connect complex music, or any music, with music lovers is through descriptive, illustrative writing. Stories work too, especially with Schubert.
