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