Piano Quintet in A (Trout)

The facts surrounding Franz Schubert’s composition of the “Trout” Quintet, D. 667, are fairly well known today. Published posthumously in 1829, the quintet was actually written ten years earlier during a summer holiday in Upper Austria. Schubert received an invitation to join Sylvester Paumgartner at his home in Steyr. Paumgartner, a successful businessman and amateur cellist, commissioned Schubert to write a set of variation on his favorite song, Die Forelle or “The Trout.” (You can hear the song performed at tomorrow night’s Gala.) Schubert never intended, it seems, for the “Trout” Quintet to reach a widespread audience; it was written at Paumgartner’s request, and utilized the musicians (violin, viola, cello, bass, piano) he had on hand that summer in 1819.
One of the most striking things about the piece—and it’s not usually seen as a good thing—is the extent of large-scale repetition of whole blocks of material. Such repetition may show the signs of hasty completion. And while it seems out of step with Schubert’s creative genius—or at least our romanticized image of his genius—it certainly makes sense if Schubert was rushing to get a piece ready for performance among friends. On the other hand, Schubert often chooses static forms and repetition in other compositions rather than the urgency of a Beethovenian sonata form. Exploration and subtle mood shifts are his goals rather than dramatic architecture.
The variations movement is certainly the most famous portion of the piece; but it is amply supported by four other movements of diverse character. Even in the opening bars of the first movement one senses the freshness and optimism of a young man (Schubert was just 22 in 1819). One also notes the influence of Mozart in the close string writing, clear phrase structure and conversational tone among the instruments. The texture of low strings, bolstered by the unusual inclusion of a double bass, and contrasted with high piano writing is a signature effect exploited throughout the quintet. The quintet’s opening page also includes a striking harmonic turn from A major to F major, the flat-VI key relation. That move opens up new realms for tonal exploration, and its sound was one that Schubert particularly enjoyed. He not only uses it many times in the following four movements but also in numerous other compositions.
The second movement, an Andante in F major, echoes that same key relation, since the previous movement closed in A. But Schubert hardly lays out the first key before he’s off on another tonal tangent. He uses quick modulations to good effect and gradually presents four distinct themes in various keys during the first half of the movement. What happens next is unexpected and troubling to many critics, for Schubert hikes up the pitch level and proceeds to paste in the entire first half, note for note. It’s hard not to feel a little unsettled at the end.
The next movement, a Scherzo, provides much-needed energy after the repetitive second movement. The main theme is marked by its three-note pickup, which sounds like a hasty sprint to the downbeat. Schubert captures something both forceful and yet playful here, and the rhythm and jaunty articulations create an infectious spirit. He only restrains the momentum during the central Trio section, which is far more lyrical and characterized by musette-like drone.
In order to examine the famous variation (fourth) movement, it might be useful to say something about the song on which it is based. Schubert composed “Die Forelle” (The Trout) in 1817. The text is by C. F. D. Schubart and abounds in sunny images of the fish’s carefree existence, but you must know that the fish’s days are numbered:


In einem Bächlein helle,
Da schoß in froher Eil
Die launige Forelle
Vorüber wie ein Pfeil.
Ich stand an dem Gestade
Und sah in süßer Ruh
Des muntern Fisches Bade
Im klaren Bächlein zu.

Across a clear brook gentle,
There shot in eager haste
The trout, so temp’ramental;
Quite arrow-like it raced.
I on the shore was gazing
And watched the brook disclose
The merry fish’s bathing
To me in sweet repose.

In the quintet Schubert composes a theme with six variations. He scores the theme for string quartet; the piano is tacet. The “Trout” melody stands out clearly in the violin, supported by graceful lines in the cello and viola. In successive variations the tune moves through the texture from piano (var. 1) to viola and cello (var. 2) to string bass (var. 3). At Variation 4 Schubert dramatically redirects into D minor and deviates from the “Trout” tune. Although the latter half of the variation retains hints of the melody, the first half is all Sturm und Drang—far away from the serene world of the preceding material. Variation 5 is the only part not centered on D major/minor, but Schubert compromises by sticking fairly closely to the theme. Variation 6 (coda) features a divided ensemble: violin-piano duo versus string quartet. Overall, it is a delightful movement, full of contrast and interaction among the parts. Paumgartner shows himself a man of good taste, for in commissioning Schubert to write this movement, he highlights the melody’s best attributes and its susceptibility to variation. Nevertheless, Schubert probably never imagined his song about “The Trout” would one day be globally recognized.
The finale opens with bare octaves on the dominant note (E), clearing the air for an introductory theme. This summons motive recurs periodically to mark boundaries in the form. Schubert’s second theme clearly recalls the “Trout” melody, unifying the movements and infusing a bit of lilting D major into the finale. Where Schubert fails to impress, perhaps, is what he does with the remainder of the form. Rather than staging a dramatic return of the main theme/key, he favors a kind of massive song structure with A and B sections each appearing twice: AB, AB (three times if the exposition repeat is taken). We know Schubert often felt dissatisfied with form, particularly sonata form. So striking a departure from convention in one so young portends future difficulty in creating musical designs that fit his needs. If we see the quintet as lyrical and poetic but formally problematic, we are still immensely fortunate that Schubert bequeathed such an “experiment” to posterity.

(c) Jason Stell