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Chia-Yi , Rutgers University
AMS/SMT Indianapolis, 11/4/2010
Opera Without Words Schubert’s String Quartet No. 15 in G Major, D 887 i
The “Monumental Strangeness”
Recognized theatrical characteristics of the G major quartet
The Fierrabras Motive
Schubert’s Grand Opera: Fierrabras (1823)
Explicit thematic connections between the quartet and the opera
Primary theme of the quartet:
Revelation of Fierrabras’s identity, Act I, Scene 2
Fierrabras’ Monologue, Act I, Scene 3
Tremolos Preceding the Crisis, Act I, Scene 3
Secondary theme of the quartet:
Soldiers’ a cappella, Act II, Scene 3
Soldier’s Lied with Chorus, Act II, Scene 1
Rethinking the Quartet Structure
An Operatic Scene Built on Sonata Form
i Music excerpts are from Tokyo Quartet, “Franz Schubert: Quartet No. 15 in G,” RCA, 1989; Abbado/
Protschka/Studer/Mattila/Gambill/Hampson/Chamber Orchestra of Europe/Arnold Schoenberg Chor, “Schubert:
Fierrabras,” Deutsche Grammophon, 2001.
Opera Without Words
Schubert’s String Quartet No. 15 in G Major, D 887
Rutgers University, Chia-Yi Wu
Example 1: Primary area
Example 2: The Second Theme
1st Statement
2nd Statement
Example 3: Sonata Form + Double Variation
Exposition Development Recapitulation
||: P1 S2 K :|| P1’ P1’’ S2’ Coda ||
G maj D maj Eb maj G maj
• (a) Fierrabras, Act I, recitative, “Wer bist du”
(b) Quartet No. 15, Introductory Passage
• (a) Fierrabras makes a gesture of reluctance.
(b) Fierrabras exclaims “Damnable fate!”
• (c) Revelation of Fierrabras’ Identity
• (d) The Transitional Passage in the Quartet
Example 6: Act I, Finale, Fierrabras’ Monologue
• (a) Introduction + Recitative
Example 6: Act I, Fierrabras’ Monologue
Example 6: Act I, Fierrabras’ Monologue
• (a) Introduction + Recitative
Example 6: Act I, Fierrabras’ Monologue
• (b) Quartet First Area
Example 6: Act I, Finale, Fierrabras’ Monologue
(c) Violin’s Recitative in the quartet
(d) Fierrabras’ Recitative in the opera
44 n k j ktz kttktz kttj z k j k
tz kttktz kttk k n k
k k k k k j ktz kttk k k k j j j
34 n oz kttktz kttj kto n oz k
ttktz kttj kto n oz k
ttktz kttk j
k k k k k z ktk k k j z
Example 7: Oscillating Tremolos – Dramatic Climax of Act I
(a) The arrival of the search party
Example 7: Oscillating Tremolos – Dramatic Climax of Act I
(b) Quartet: Leading into the development section
Example 8: The Knights’ a cappella
• (a) Act II, No. 14, chorus: “O theures Vaterland!”
Example 8: The Knights’ a cappella
• (b) Quartet, second theme
Example 9: Second Group in the exposition
• (a) Second statement: m. 78, chorus with tremolo accompaniment
Example 9: Second Group in the exposition
(b) Third statement: m. 109, cello solo with pizzicato accompaniment
Example 9: Second Group in the exposition
(c) Fourth statement: m. 142, viola solo with pizzicato and tremolo
Example 10: Act II, Lied with Chorus “Im jungen Morgenstrahle”
Eginhard (tenor, C Maj)
Chorus (C Maj)
Roland (Baritone, G Maj)
Chorus (C Maj)
Eginhard + Roland (C Maj)
Chorus (C Maj)
Example 11: Transformation of the Primary Theme
• (a) Exposition
• (b) Development
• (b) Development
Example 11: Transformation of the Primary Theme
• (a) Exposition
• (c) Recapitulation
Example 11: Transformation of the Primary Theme
• (c) Recapitulation
• (a) Exposition
Example 11: Transformation of the Primary Theme
• (c) Recapitulation
Example 12: Oscillating tremolos leading into the Sturm und Drang coda
Example 13: The Second Group in the Exposition
S1(D Maj)
Chorus : a cappella
S2 (D Maj)
Chorus with tremolo
S3 (Bb Maj)
Cello Solo with pizzicato
S4 (D Maj)
Viola Solo with tremolo + pizzicato
Example 13: The Second Group in the Exposition
Second ThemeEnd of transition
Example 14: Second key area in the recapitulation
• (a) First statement: Chorus and cello solo
Transition: 3 solo voices