33:42 (12:22) Someone asked me (on one of the Beethoven sonata videos, I think) how to listen for structure, and I vaguely recall saying that was a really good question but also a difficult one to answer. Nonetheless, that bit I highlighted above seems a perfect illustration of what happens when structure really works - not as an academic thing or formal nicety, but when it really hits you as an emotional, experienced force. So I thought this would be a good opportunity to say something brief about structure. I think the basic way to understand how structure works is to note there are really two kinds of pleasure - pleasure _in_ something, and pleasure _at_ something. In-pleasures are essentially purely sensory - they feel good without intermediation (food, sex, a nice musical theme). At-pleasures are not really sensory per se - they’re what you feel when you hear that something good has happened in the world, for example. It not your _senses_ that are directly making you happy - it’s your mind doing the work. And structure in music is basically a way of dragging a whole bunch of sensory in-pleasures into an arrangement which lets them generate at-pleasure too. There is in-pleasure at 33:42, for sure - as a pure sensory experience it’s a really good bit of music. But what makes that moment great is the at-pleasure the structure provides, the pleasure of knowing that this is a beautiful theme you have already heard, now coming back in a radically different context - a lyric moment in a movement that, frankly, insists on opening with a rather trivial theme - and with a drastically different accompaniment. In a word, and simplifying a bit: surprise. But that’s only one of the many ways structure can provide at-pleasure. Often it *is* through surprise (the best sonata for this is, I think, Liszt’s B minor, because that’s a large part of how thematic transformation works - realising suddenly that something familiar has returned in a new guise, or that something apparently new has been heard before). But it can be though the exact _opposite_ of surprise, because you _anticipate_ what is to come. The pleasure you get from listening to the long buildup to an EDM bass drop and the dominant preparation at the end of the development section in a sonata really should be the same thing, and it’s all because you’re waiting for a big musical whizzbang or somesuch to come crashing through. It’s your brain doing the work - and I don’t mean this is an intellectual process at all, just that your mind generates happiness because of something it *isn’t* currently experiencing in a sensory way. Variation form is pretty interesting in this respect - it seems even more dependent on at-pleasure than complex forms like the sonata (think of how a really nice variation can sound banal in isolation: no-one would care that you can play Happy Birthday in the minor unless they already knew happy birthday, and the video at bit.ly/1PcGtCC wouldn’t be fun if you couldn’t recognise any theme) but the at-pleasure is neither from surprise or anticipation, but something even more abstract - just the mental act of linking one musical idea (a theme) with another (the variation). So in the context of the original question, which I think was about sonata form, the way I think of a sonata is that it is a bit of music talking to itself, building itself up through this scaffold of at-pleasures by satisfying/evading/modifying your expectations - and in a really good sonata (such as this trio) you get the sense you are lucky enough to eavesdrop.
Agree. But unlike the Lisztian/Wagnerian camp (you ref. The Liszt Sonata above), Schubert was more about the “truth of musical expression” and not in the sense of Liszt that he sought to steer the compositional process along rational lines in furtherance of his own desire and aim. Hence I’m more on the of the Schumann campaign of romanticism. Alas! Don’t fret-I don’t claim Lisztian compositions as vulgar as andras Schiff would maintain.
One way I have described it to other is that music of the Classical and Romantic period is about setting up harmonic and motivic expectations and then either fulfilling them or postponing (or sometimes subverting) the fulfillment of those expectations.
33:49 return of the theme that emerged in the mvmt 2, th'ats why schubert is a genius. give me goosebumps every time. I don't know really why. But schubert is telling us a story that he only can understand
@far ema it was Mozart's idea first, not Beethoven. For example, his piano concerto no.12. The main theme from the first movement reappears in the second movement in a different way.
I'm fascinated by the sheer number of bowing techniques ( and pizzicato) Schubert employs for violin and cello.A trio for virtuosi only. Magnificent recording. Thank you.
If anyone's interested: there's a wonderful lecture about this trio by Bruce Adolphe from his Inside Chamber Music series. He talks about how the second movement was inspired by a Swedish song, how it's connected to Beethovens death and the Eroica and a lot of other interesting things. It's up on UA-cam, highly recommended!
My gamily and I heard the Trio Wandered yesterday, and we were blown away by this trio. We bought their CD, and listened to it another three times at home, but I was also looking for an analysis. Thank you, Ashish!
Like everyone else in the comment section, I came running as soon as I saw the notification that said you'd uploaded a Schubert piano trio! Coupled with your great analysis of the piece and your comment about listening for structure, this video is definitely going into my favourites!
Oh yes. Very nice. This with Mendelssohn’s 1st trio and Schumann’s 1st and 3rd are my favorite. Final movement is wonderful mix of previously introduced themes and intertwining them new beauties. Love the section at 11:08 left he repeats later as well. Thanks for making it available. Nice excuse to listen to this masterpiece of the chamber music repertoire once again!
Schubert will always deserve a special place in my heart and I couldn't agree more with you about Schiff's and Perenyi's rendition. As much as I repect and love the two masters, this rendition is far superior and brings justice to Schubert's heavenly qualities.
This a superb, elegant performance, beautifully balanced, and very well recorded. I was unfamiliar with this ensemble. Thanks for introducing me to them. "The Trio Wanderer is a French piano trio made up of Vincent Coq piano, Jean-Marc Phillips-Varjabédian violin and Raphaël Pidoux cello. Trio Wanderer’s members graduated from the Conservatoire de Paris." Wikipedia
I love how Schubert modulates from one key to another! I really like 32:47 where he finishes a section in B-flat Major and then goes on in B Minor. He is a genius!!
No one modulates like Schubert, effortless. I was learning a piece that I found on this channel that went from B-minor (2 sharps) to friggin A-flat minor (7 flats!) and was looking at it wondering... huh how'd that happen?? check it out: ua-cam.com/video/DG_ftHbEGps/v-deo.html
I am so glad you cited this movement. To me it is grand beyond proportions! Funny - the first time I heard it was in Stanley Kubrick's BARRY LYNDON. The undercurrents of passion and pathos runs deep into my heart. ♥
This is my favorite piano trio. I love watching the score and reading your in depth notes. I'm trying to learn this piece and the notes are hugely helpful.
"But Schubert’s always twilit genius, death- touched, he liked above all to seek where he lifts to the loftiest ex- pression a certain only half-defined but inescapable destiny of solitude...." as in this incomparable Andante con moto.... (Thomas Mann's Doktor Faustus, chap. IX). Thank you so much for sharing
thank you so much for the analysis and time examples in the description. As I am studying this piece as part of my A-level music course, this is really helpful. Thank you.
The Trio Wanderer is a French piano trio made up of Vincent Coq piano, Jean-Marc Phillips-Varjabédian (since 1995, replacing Guillaume Sutre) violin and Raphaël Pidoux cello. Trio Wanderer’s members were all graduated from the Conservatoire de Paris.
I have such a massive sweet spot for the piano trio genre as a whole. Maybe because it's simply due to the piano, or how generally the violin doesn't get TOO much emphasis, because I cannot say the same for string quartets. Even compositions that are decidedly mediocre but happen to be a piano trio get so many repeated listenings out of me. I adore this trio and Trio Wanderer, so thank you for giving your thoughts on it. Also, a small mistake: the MVT IV should begin at 28:50, rather than 28:24.
@@samchua6758 I'm enjoying all of Beethoven's piano trios. I love the Archduke and the Ghost Trio, in particular. Here's a link. ua-cam.com/video/C_lD8UhHAEA/v-deo.html
Beautiful performance. I only wish it had the even better original uncut version of the finale, with the contrapuntal combination of the slow movement theme with the repeated-notes motif. :)
Love your channel. I would love for you to post the Mendelssohn D minor piano trio. Would be curious to read your take on it. And thank you for the Schubert score!
Yes, Schubert being subtle about what is going to happen next, but the first time listener will never know this, only listening more than twice will do!
I agree. I'd also highly recommend the Beaux Arts Trio. My piano teacher studied with the lead pianist Menahem Pressler and introduced me to them. I can't listen to piano trios the same anymore.
After listening to this, I was struck by your comment: "Schiff/Perenyi is too piano-ey, while the recent Mutter/Trifonov is far, far too violin-centric. This recording is close to perfect" Yes, I agree.
I know this is none of my business or anything, but I have followed your channel a couple of years now, and the question starts to bug me: What is your profession?
I do not listen to a lot of classical music... and its weird that Stan ( by Eminem ) brought me here. It is now my fourth time in a row listening to this mix. I could say ( with reserve ) that this is the definition of musical perfection.
First time I've heard this piece. What strikes me is how balanced everything sounds - I don't know if that's Schubert or the recording. I'm not a fan of the Piano Trio as an ensemble because of how inherently unbalanced it is, pitting an instrument with a full range against a high and low one (where the low one can also take middle register by sacrificing the lower one). Oddly, even a duet where one side is a piano works better. The other thing I really like about this piece is that I didn't notice any of Schubert's distinctive timewasting, which is a good thing. Strikes me as odd that Schumann liked how long the Great C Major is, given that (at least in the first movement) a lot of that is achieved by timewasting. Don't get me wrong - I love the symphony - but when you repeat the same figure over and over with miniscule changes to the chord it starts to sound a bit stuck. If I have any complaints about the piece itself, it's that I didn't realised how long the exposition was in the last movement, and it felt like it could have ended much sooner. Just my first impression - will probably change on my next listening. If I have any complaints about the performance, then it's the lack of repeat in the first movement (almost invariably the repeat will help, because it sets up the rule of three with the recapitulation, and also because it gives the audience the material twice, so they can learn the music that's about to be developed - especially important on a first listening), and the pizzicato. Overall, loved it on a first listening, and will likely listen again.
this is the best piano trio ever. why was you fell down early, Franz? if you'd skill about counterpoint, probably i think you could be over your idol, Beethoven.
Maybe it's just how the dice have fallen as far as what recordings I've been exposed to, but I'm confused as to why nobody seems to repeat the expositions in Schubert. I would have assumed he left his repeats out himself if the score wasn't in front of me. I guess it might be because his first movements tend to skew a little long, but the same could be said of Beethoven, and I hardly ever hear a Beethoven recording without repeats. This performance is great, but the balance on the first movement is so back-heavy, what with the long development and fairly substantial coda, which would normally be offset by the relatively long exposition, but here (and in other recordings of other pieces, as I've said) the exposition is essentially half the length. Also, the repeat of the exposition has an important function in the form, hammering all the important bits into the listener's head so that they can be easily recognized and compared to their reappearance in the second half. Why short-change Schubert like that, when most recordings of Haydn/Mozart/Beethoven/etc. repeat the exposition?
Such a pretty work. piano trios played as well as this are delightful listening. This trio is very good-who are they? I have been wondering after hearing them with one of the Mendelssohn trios. Thank you for the download.
It does. It’s like all of Dvorak comes out of this theme. Technically what it is is a repeated exchanging of minor for its relative major in root position chords - a thing that does not occur much in music before this time. It’s a Dvorak signature.
Lyle Waller It’s conventional to omit repeats in some circumstances. Schubert is known for long his compositions, so perhaps the recording ensemble decided to spare us the time.
@@nicb4589- Actually, it's NOT conventional to skip repeats except on D.S.s and D.C.s. If the group had intended to "spare" us some time, perhaps it should have not have even bothered recording the piece.
@@declamatory No, Nic is right. Hans von Bülow once told a student working on a Beethoven piece that composers wrote repeats into the music the way that people write "Faithfully/Sincerely yours" at the end of a letter, and in his book After the Golden Age, Kenneth Hamilton explores the romantic practise of omitting repeats in well-known pieces as a performance decision. Many if not most musicians of the romantic era and before would probably scoff at the idea that one shouldn't bother playing a piece at all if they're not to be following every mark on the score.
The chord progression at 00:55 reminds me of the opening bars of movement 3 of Schubert's Sonata 18 ( 26:55 in this video ua-cam.com/video/bX_IjA3x_rw/v-deo.html )
The Trio Wanderer is a French piano trio made up of Vincent Coq piano, Jean-Marc Phillips-Varjabédian (since 1995, replacing Guillaume Sutre) violin and Raphaël Pidoux cello.
33:42 (12:22)
Someone asked me (on one of the Beethoven sonata videos, I think) how to listen for structure, and I vaguely recall saying that was a really good question but also a difficult one to answer. Nonetheless, that bit I highlighted above seems a perfect illustration of what happens when structure really works - not as an academic thing or formal nicety, but when it really hits you as an emotional, experienced force. So I thought this would be a good opportunity to say something brief about structure.
I think the basic way to understand how structure works is to note there are really two kinds of pleasure - pleasure _in_ something, and pleasure _at_ something. In-pleasures are essentially purely sensory - they feel good without intermediation (food, sex, a nice musical theme). At-pleasures are not really sensory per se - they’re what you feel when you hear that something good has happened in the world, for example. It not your _senses_ that are directly making you happy - it’s your mind doing the work. And structure in music is basically a way of dragging a whole bunch of sensory in-pleasures into an arrangement which lets them generate at-pleasure too. There is in-pleasure at 33:42, for sure - as a pure sensory experience it’s a really good bit of music. But what makes that moment great is the at-pleasure the structure provides, the pleasure of knowing that this is a beautiful theme you have already heard, now coming back in a radically different context - a lyric moment in a movement that, frankly, insists on opening with a rather trivial theme - and with a drastically different accompaniment.
In a word, and simplifying a bit: surprise.
But that’s only one of the many ways structure can provide at-pleasure. Often it *is* through surprise (the best sonata for this is, I think, Liszt’s B minor, because that’s a large part of how thematic transformation works - realising suddenly that something familiar has returned in a new guise, or that something apparently new has been heard before). But it can be though the exact _opposite_ of surprise, because you _anticipate_ what is to come. The pleasure you get from listening to the long buildup to an EDM bass drop and the dominant preparation at the end of the development section in a sonata really should be the same thing, and it’s all because you’re waiting for a big musical whizzbang or somesuch to come crashing through. It’s your brain doing the work - and I don’t mean this is an intellectual process at all, just that your mind generates happiness because of something it *isn’t* currently experiencing in a sensory way. Variation form is pretty interesting in this respect - it seems even more dependent on at-pleasure than complex forms like the sonata (think of how a really nice variation can sound banal in isolation: no-one would care that you can play Happy Birthday in the minor unless they already knew happy birthday, and the video at bit.ly/1PcGtCC wouldn’t be fun if you couldn’t recognise any theme) but the at-pleasure is neither from surprise or anticipation, but something even more abstract - just the mental act of linking one musical idea (a theme) with another (the variation).
So in the context of the original question, which I think was about sonata form, the way I think of a sonata is that it is a bit of music talking to itself, building itself up through this scaffold of at-pleasures by satisfying/evading/modifying your expectations - and in a really good sonata (such as this trio) you get the sense you are lucky enough to eavesdrop.
Thank you for your great work. I really enjoy to read what you write.
really good clarification !
Do you teach music somewhere? Or are you a musician? Can't believe you'd be an amateur
Agree. But unlike the Lisztian/Wagnerian camp (you ref. The Liszt Sonata above), Schubert was more about the “truth of musical expression” and not in the sense of Liszt that he sought to steer the compositional process along rational lines in furtherance of his own desire and aim. Hence I’m more on the of the Schumann campaign of romanticism. Alas! Don’t fret-I don’t claim Lisztian compositions as vulgar as andras Schiff would maintain.
One way I have described it to other is that music of the Classical and Romantic period is about setting up harmonic and motivic expectations and then either fulfilling them or postponing (or sometimes subverting) the fulfillment of those expectations.
00:00 - Mvt 1, Allegro
12:15 - Mvt 2, Andante con moto
22:01 - Mvt 3, Scherzo
28:48 - Mvt 4, Allegro moderato
Ashish, can you _please_ do an upload of the D958 sonata? I would love to read your commentary on the piece.
Came 50% for the piece and 150% for the great analysis♥️
Kind of "romantic" to be Beethoven (just kidding, I absolutely agree)
33:49 return of the theme that emerged in the mvmt 2, th'ats why schubert is a genius. give me goosebumps every time. I don't know really why. But schubert is telling us a story that he only can understand
Ghost-story!
He seems to remember one of his impromptus in the first movement...
@far ema it was Mozart's idea first, not Beethoven. For example, his piano concerto no.12. The main theme from the first movement reappears in the second movement in a different way.
@@liachechel this technique appeared way before Mozart
That kind of retrospection is extremely well composed by Schubert in this case
I'm fascinated by the sheer number of bowing techniques ( and pizzicato) Schubert employs for violin and cello.A trio for virtuosi only. Magnificent recording. Thank you.
He was a string Player
Barry Lyndon. Piano trio n. 2. Kubrick. Schubert. Geniuses and masterpieces...
If anyone's interested: there's a wonderful lecture about this trio by Bruce Adolphe from his Inside Chamber Music series. He talks about how the second movement was inspired by a Swedish song, how it's connected to Beethovens death and the Eroica and a lot of other interesting things. It's up on UA-cam, highly recommended!
It really is a terrific introduction to the work.
ua-cam.com/video/NrFU8wWm19o/v-deo.html
I just discovered this channel today searching for recordings, but oh my goodness I have found a GEM in these inciteful analyses!
My gamily and I heard the Trio Wandered yesterday, and we were blown away by this trio. We bought their CD, and listened to it another three times at home, but I was also looking for an analysis. Thank you, Ashish!
Like everyone else in the comment section, I came running as soon as I saw the notification that said you'd uploaded a Schubert piano trio! Coupled with your great analysis of the piece and your comment about listening for structure, this video is definitely going into my favourites!
Oh yes. Very nice. This with Mendelssohn’s 1st trio and Schumann’s 1st and 3rd are my favorite. Final movement is wonderful mix of previously introduced themes and intertwining them new beauties. Love the section at 11:08 left he repeats later as well. Thanks for making it available. Nice excuse to listen to this masterpiece of the chamber music repertoire once again!
That modulation from b minor to eb minor at 36:14 is amazing
One of Schubert's last works. Obessed with his works especially in the late period
God, I absolutely adore Schubert. You don't understand what I would go through to hear what Schubert would have written if he hadn't passed so young.
Yeees, me too right now, I'm realising I love Schubert
A true masterpiece wonderfully played by these superb musicians. Schubert is one of the greatest ever.
Schubert will always deserve a special place in my heart and I couldn't agree more with you about Schiff's and Perenyi's rendition. As much as I repect and love the two masters, this rendition is far superior and brings justice to Schubert's heavenly qualities.
This a superb, elegant performance, beautifully balanced, and very well recorded. I was unfamiliar with this ensemble. Thanks for introducing me to them. "The Trio Wanderer is a French piano trio made up of Vincent Coq piano, Jean-Marc Phillips-Varjabédian violin and Raphaël Pidoux cello. Trio Wanderer’s members graduated from the Conservatoire de Paris." Wikipedia
Dear Mr. Xiangyi Kumar
, thank you very much for posting this masterpiece, this trio is a miracle!
Thank you for posting this wonderful and genius piece!
I love how Schubert modulates from one key to another! I really like 32:47 where he finishes a section in B-flat Major and then goes on in B Minor. He is a genius!!
No one modulates like Schubert, effortless. I was learning a piece that I found on this channel that went from B-minor (2 sharps) to friggin A-flat minor (7 flats!) and was looking at it wondering... huh how'd that happen?? check it out: ua-cam.com/video/DG_ftHbEGps/v-deo.html
Thank you! Always have loved the profoundness of the second movement! Thank you Schubert.
I am so glad you cited this movement. To me it is grand beyond proportions! Funny - the first time I heard it was in Stanley Kubrick's BARRY LYNDON. The undercurrents of passion and pathos runs deep into my heart. ♥
I love those descriptions so much
This is my favorite piano trio. I love watching the score and reading your in depth notes. I'm trying to learn this piece and the notes are hugely helpful.
Ashish: Uploads chamber music
Me: Nice
Franz Schubert:2.Esz-dúr Zongoratrió D.929
1.Allegro 00:00
2.Andante con moto 12:16
3.Scherzando: Allegro moderato 22:01
4.Allegro moderato 28:48
Trio Wanderer
It's really nice to see that you're posting stuff regularly again! I really like this one.
"But Schubert’s always twilit genius, death-
touched, he liked above all to seek where he lifts to the loftiest ex-
pression a certain only half-defined but inescapable destiny of
solitude...." as in this incomparable Andante con moto.... (Thomas Mann's Doktor Faustus, chap. IX). Thank you so much for sharing
thank you so much for the analysis and time examples in the description. As I am studying this piece as part of my A-level music course, this is really helpful. Thank you.
The Trio Wanderer is a French piano trio made up of Vincent Coq piano, Jean-Marc Phillips-Varjabédian (since 1995, replacing Guillaume Sutre) violin and Raphaël Pidoux cello. Trio Wanderer’s members were all graduated from the Conservatoire de Paris.
Best piano trio playing I have ever heard I think. Beautiful playing and such a beautiful piece!
Listen to the Beaux Arts Trio. You'll love it!
heard the theme around 12:17 in the film barry lyndon, didn't realise it gets developed so beautifully beyond that
4:55 sounds really like his impromptu op.90 no.4~it's so beautiful~~♡
A combination of no 4 and no 2 too perhaps?
Impeccable... Thank you for uploading!
This is a beautiful piece by Schubert
Thank you for the complete post
First movement is breathtaking!!
21:15 this is the best coda ever
That finale is beyond startling!
I have such a massive sweet spot for the piano trio genre as a whole. Maybe because it's simply due to the piano, or how generally the violin doesn't get TOO much emphasis, because I cannot say the same for string quartets. Even compositions that are decidedly mediocre but happen to be a piano trio get so many repeated listenings out of me. I adore this trio and Trio Wanderer, so thank you for giving your thoughts on it.
Also, a small mistake: the MVT IV should begin at 28:50, rather than 28:24.
Hey do you have any recommendations for piano trio pieces
The violin obviously doesn’t get as much emphasis here because it is a PIANO trio.
@@samchua6758 I'm enjoying all of Beethoven's piano trios. I love the Archduke and the Ghost Trio, in particular. Here's a link. ua-cam.com/video/C_lD8UhHAEA/v-deo.html
Beautiful performance. I only wish it had the even better original uncut version of the finale, with the contrapuntal combination of the slow movement theme with the repeated-notes motif. :)
3:42 op 90 impromtus, no 4, in a-flat major?
Love your channel. I would love for you to post the Mendelssohn D minor piano trio. Would be curious to read your take on it. And thank you for the Schubert score!
Love the reference to the minuet from Haydn’s Symphony No. 23 in the Scherzo movement.
12:22 thème 1
14:12 thème 2
15:19 passage rude
17:25 passage affolé
12:15 début
12:55 cloches
I just realized that the arpeggio accompaniment in the return of the theme of mvt 2 in mvt 4 (33:42) is actually taken from 31:13 in the C section!
Yes, Schubert being subtle about what is going to happen next, but the first time listener will never know this, only listening more than twice will do!
I found Trio Wanderer to be a good reference in most of the piano trio litterature. Excellent choice for this Schubert!
I agree. I'd also highly recommend the Beaux Arts Trio. My piano teacher studied with the lead pianist Menahem Pressler and introduced me to them. I can't listen to piano trios the same anymore.
3:53 - 4th impromptu op.90?
I think so too
Bravo bravo bravo genial music super
After listening to this, I was struck by your comment: "Schiff/Perenyi is too piano-ey, while the recent Mutter/Trifonov is far, far too violin-centric. This recording is close to perfect" Yes, I agree.
3:54 reminds me of his impromptu op. 90 no. 4
....What a mind that of Schubert !!!
Jeez this is IMMENSE!
Absolutely love section 12:17
Interesting that no one has mentioned the call forward at 1:20 to the same harmonic and melodic outline at 12:44
Very nice!
Twelve minutes in-yes! Wonderful!
This trio is very good!
I know this is none of my business or anything, but I have followed your channel a couple of years now, and the question starts to bug me: What is your profession?
He has a law degree from Cambridge, and I think he's based in Singapore. (He's mentioned this in previous comments.)
@@BrianPaick - it seems he is actually a professional classical-music UA-camr. And probably the best.
2:38 would it be appropriate to say that here, the semitone descent/ascent reveals itself to be a quote of Ave Maria?
Wow
This video made my day
I do not listen to a lot of classical music... and its weird that Stan ( by Eminem ) brought me here. It is now my fourth time in a row listening to this mix. I could say ( with reserve ) that this is the definition of musical perfection.
Гениально!
What, Ashish uploading a trio? What next, a Bartok String Quartet? (P.S. are you gonna do any late Scriabin or Haydn?)
+1 for late Skriabin. It's some of the most mesmerizing music that I know.
Wonderfully annotated.
Schubert at its finest.
First time I've heard this piece. What strikes me is how balanced everything sounds - I don't know if that's Schubert or the recording.
I'm not a fan of the Piano Trio as an ensemble because of how inherently unbalanced it is, pitting an instrument with a full range against a high and low one (where the low one can also take middle register by sacrificing the lower one). Oddly, even a duet where one side is a piano works better.
The other thing I really like about this piece is that I didn't notice any of Schubert's distinctive timewasting, which is a good thing. Strikes me as odd that Schumann liked how long the Great C Major is, given that (at least in the first movement) a lot of that is achieved by timewasting. Don't get me wrong - I love the symphony - but when you repeat the same figure over and over with miniscule changes to the chord it starts to sound a bit stuck.
If I have any complaints about the piece itself, it's that I didn't realised how long the exposition was in the last movement, and it felt like it could have ended much sooner. Just my first impression - will probably change on my next listening.
If I have any complaints about the performance, then it's the lack of repeat in the first movement (almost invariably the repeat will help, because it sets up the rule of three with the recapitulation, and also because it gives the audience the material twice, so they can learn the music that's about to be developed - especially important on a first listening), and the pizzicato.
Overall, loved it on a first listening, and will likely listen again.
this is the best piano trio ever. why was you fell down early, Franz? if you'd skill about counterpoint, probably i think you could be over your idol, Beethoven.
Maybe it's just how the dice have fallen as far as what recordings I've been exposed to, but I'm confused as to why nobody seems to repeat the expositions in Schubert. I would have assumed he left his repeats out himself if the score wasn't in front of me. I guess it might be because his first movements tend to skew a little long, but the same could be said of Beethoven, and I hardly ever hear a Beethoven recording without repeats.
This performance is great, but the balance on the first movement is so back-heavy, what with the long development and fairly substantial coda, which would normally be offset by the relatively long exposition, but here (and in other recordings of other pieces, as I've said) the exposition is essentially half the length. Also, the repeat of the exposition has an important function in the form, hammering all the important bits into the listener's head so that they can be easily recognized and compared to their reappearance in the second half. Why short-change Schubert like that, when most recordings of Haydn/Mozart/Beethoven/etc. repeat the exposition?
I whip it back to the start at the double bar.
13:04 Hello from G.Pergolesi 😁
UA-cam's adds shoud be banned from youtube for trying to push CRAP amidsth such divine melodies!
2:38 I'm sure I'm not the only one who thinks that this sounds like Ave Maria.
Thanks, now I can't unhear it
Such a pretty work. piano trios played as well as this are delightful listening. This trio is very good-who are they? I have been wondering after hearing them with one of the Mendelssohn trios. Thank you for the download.
17:26 sounds so dvorak-like to me in the melody don't know why it just does
It does. It’s like all of Dvorak comes out of this theme. Technically what it is is a repeated exchanging of minor for its relative major in root position chords - a thing that does not occur much in music before this time. It’s a Dvorak signature.
15:56 Charlotte
Merry 1. Advent folks!
Here from Presentable Liberty
Where I found it
But now It's synonymous with barry lyndon
Which is a perfect movie
BOOM, BABY !
Oh presentable liberty
This comment was made before my viewing of barry lyndon
What is your favourite composer, Ashish?
Que buen trio
헐 2악장 저 유명한 멜로디가 이 곡이었다니,,,,
Ashish I've been meaning to ask you something. Are you from India? Cuz Ashish kumar is a typical indian name
Yes but xiangyi sounds Singaporean maybe
Singapore.
I found this through the #47shift ☘️🍀☘️
00:00
00:00
12:15
12:15
22:01
22:01
28:48
28:48
12:22
Berry lyndon!
Such an underated film
One of kubricks bests
12min 10 sec is my favorite part
3:54, 38:28, 41:02
May I ask who the members are of this heavenly group?
Uh, oh! They missed the repeat at 3:32!
Lyle Waller It’s conventional to omit repeats in some circumstances. Schubert is known for long his compositions, so perhaps the recording ensemble decided to spare us the time.
@@nicb4589- Actually, it's NOT conventional to skip repeats except on D.S.s and D.C.s. If the group had intended to "spare" us some time, perhaps it should have not have even bothered recording the piece.
Amen Lyle! I think leaving out repeats, especially in sonata form movements is the worst possible offence one can commit to the structure of a piece.
A little bird dies every time a Schubert repeat is skipped. ;) 42 minutes tho, can't say I blame em.
@@declamatory No, Nic is right. Hans von Bülow once told a student working on a Beethoven piece that composers wrote repeats into the music the way that people write "Faithfully/Sincerely yours" at the end of a letter, and in his book After the Golden Age, Kenneth Hamilton explores the romantic practise of omitting repeats in well-known pieces as a performance decision.
Many if not most musicians of the romantic era and before would probably scoff at the idea that one shouldn't bother playing a piece at all if they're not to be following every mark on the score.
Has the second movement theme appeared elsewhere? Sounds awfully familiar
in the film the mechanic I think
Credits of the game Presentable Liberty
3:45 부터 너무 아름답다
The chord progression at 00:55 reminds me of the opening bars of movement 3 of Schubert's Sonata 18 ( 26:55 in this video ua-cam.com/video/bX_IjA3x_rw/v-deo.html )
What is this piano difficulty D: There are some really awkward stuff in there DDD:
Œuvre immortelle
✌️👏
12:15
The five-note motive of T3* in Mvt. 1 kind of re-iterates 'Ave Maria'.
Lovely - but who is playing?
The Trio Wanderer is a French piano trio made up of Vincent Coq piano, Jean-Marc Phillips-Varjabédian (since 1995, replacing Guillaume Sutre) violin and Raphaël Pidoux cello.
Sorry, I'm missing a few repetitions.
Linda musica
한국인은 없는것인가? 2악장 완전좋은데ㅠ