2. Andante un poco moto

A scaled down version of this monumental work.

The Quartet No. 15 in G major (1826), the last of Schubert's string quartets, stands alongside the famous D minor Quartet ("Death and the Maiden") as proof that the composer was well on his way to writing large-scale works in all genres. Symphonic in organization and structure, it achieves a depth of sound that often belies the presence of only four musicians. In its scope and difficulty, it typifies Schubert's later works.

The first movement, over twenty-three minutes in length, features a near-symphonic introduction which substantially delays the appearance of the first theme. Characterized more by rich complexity than by the composer's characteristic rhythmic drive, this theme at several points decreases dynamically to near silence, while the rhythmic motion comes to a complete stop at least twice.

Though about half as long as the first, the second movement, Andante un poco moto, is no less richly crafted. While stylistically consistent with the previous movement, it is more lyrical and somewhat darker in character. It also makes use of the composer's distinctive "hairpin" maneuver -- complete stops after which the music resumes on a different rhythmic and dynamic plane.

The Scherzo, less complex than the preceding movements, is marked by a previously absent rhythmic insistence. A driving motive in triplet rhythms assumes the fore until a contrasting lyrical center section intrudes. Eventually, the initial energy returns, and the movement ends aggressively.

The finale features an alternation between two rhythmic devices: a dotted eighth note followed by a sixteenth, and groups of triplets. Within the symphonic scope of the quartet the finale is the grandest movement of all, powerful and complex, constantly building and changing, until drawing to a surprising close. ~ Michael Morrison, Rovi

The Quartet was the deliberate creation of Éduard J. de Coppet of New York, who in 1902 engaged the original members to devote themselves entirely to quartet-playing, and not with any view to giving regular concerts in public. The group took its name from de Coppet's summer villa near Lausanne, in Switzerland, where the four musicians first rehearsed. After a long period of practice, the Quartet made a European tour and won high praise for the perfection of its ensemble and its artistic finish. Both violinists and the violist had been students of the Belgian maestro César Thomson. The group was first heard in New York, in private and at charity concerts, in autumn 1904, but it did not give a public concert in the USA until 5 December 1905. After that it appeared regularly in Europe and America. The members stuck to the original principle of not accepting any outside engagement, and having no pupils, and by devoting themselves entirely to the quartet maintained a position of acknowledged superiority in their field. They disbanded in 1928. (from Wikipedia)

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