| Disc: 1 |
| 1. | Introduction, origins |
| 2. | Imagery, analogy and the shape of the things to come; the opening flourish |
| 3. | The unusual presence of the double-bass |
| 4. | A palette of tone colours and the emergence of a theme |
| 5. | Trouble getting off the ground, but the key is not in doubt |
| 6. | Jumping the quene: Schubert takes a lesson from Mozart |
| 7. | Mozart demonstrates a traditional transition |
| 8. | Destination clarified |
| 9. | Mozart confirms our arrival |
| 10. | A Schubertian shocker from a later work |
| 11. | Rejoining the "Trout", with a reminder |
| 12. | The piano joins the strings with yet a third variant of the theme |
| 13. | A rhythmic motto: the "triplet motif" |
| 14. | We get it here |
| 15. | We get it there |
| 16. | We find it everywhere, even in the double-bass |
| 17. | The strings' answer to the piano's opening flourish |
| 18. | The two-part structure of the 'answering motif'... |
| 19. | ...but scarcely ever the same way twice |
| 20. | The piano and strings now share the material for the first time |
| 21. | Conversation as the first principle of chamber music |
| 22. | Opening (introductory) section heard complete |
| 23. | The violin and double-bass in partnership |
| 24. | The violin and piano swap roles |
| 25. | Transition to second main theme; triplets now everywhere |
| 26. | On the threshold of the new theme |
| 27. | Second main theme (a 'love duet'), shared by cello and viola |
| 28. | The abandonment of octaves in the piano changes the tone colour |
| 29. | A surprising change of tone and a premonition |
| 30. | A return to lyricism, but the cello jumps the gun |
| 31. | A buoyant, skipping new theme is given to the solo piano |
| 32. | Re-entry of the strings as the violin takes up the new theme |
| 33. | A transitional theme, and another Schubertian key-jump |
| 34. | We sense the imminent arrival of the closing theme |
| 35. | A sudden, hushed key-change introduces part two of the closing theme |
| 36. | The exposition comes to an end |
| 37. | Cue to complete exposition |
| 38. | Expositon complete |
| 39. | Introduction to the development; the genetic code of "key" |
| 40. | The contrasting aural properties of piano and violin |
| 41. | The ponderous double-bass is featured in the first main theme |
| 42. | The strings are liberated from servitude, but are a long way from home |
| 43. | A joyful conversation and a change of pace in the piano |
| 44. | The piano takes the melodic lead again |
| 45. | A conversation between violin and piano leads to the exposition... |
| 46. | ...but Schubert gets it "wrong" |
| 47. | First movement (complete) |
| 48. | Introduction to second movement |
| 49. | The violin now takes theme one |
| 50. | The piano regains the theme |
| 51. | The violin and piano round off first section with the new "closing" theme |
| 52. | A major change of tone: a passing cloud and a dark new key |
| 53. | The piano abandons its octaves, but not its triplets, in the new "Hungarian" theme |
| 54. | The sun returns with a new theme, in two contrasting parts |
| 55. | An evaporating dialogue between violin and piano |
| 56. | A major mood change as twilight falls |
| 57. | Cue to whole movement |
| 58. | Second movement (complete) |
|
| Disc: 2 |
| 1. | Introduction to the Scherzo - and a clear four-bar phrase... |
| 2. | ..."answered" by two two-bar phrases |
| 3. | A disconcerting "echo" |
| 4. | Expectation, frustration and surprise |
| 5. | The phrase length expands from nine to fourteen bars |
| 6. | The beginning of the second half... |
| 7. | ...or should it go from G minor to D major? |
| 8. | Doubts are sown as the tonality becomes elusive |
| 9. | A varied reprise of part one, and the end of the Scherzo proper |
| 10. | A conversational start to the Trio section |
| 11. | Another Schubertian phrase extension |
| 12. | Two overlapping phrases add up to a single theme |
| 13. | The piano adds a third phrase to the overlap |
| 14. | The overlaps continue as the key drifts downwards |
| 15. | Another Schubertian key-jump, now to B flat |
| 16. | A dramatic transformaton of mood |
| 17. | Awakening from a dream: the main theme's return |
| 18. | Cue to complete Scherzo |
| 19. | Third movement (complete) |
| 20. | Enter the trout, at last; a meeting with the original |
| 21. | Back to the Quintet: the strings, headed by the violin, introduce the theme |
| 22. | The first variation |
| 23. | The second variation |
| 24. | The third variation |
| 25. | The fourth variation, part one |
| 26. | The fourth variation, part two |
| 27. | The fifth variation |
| 28. | The final variation, part one: violin and piano alone introduce the theme |
| 29. | The final variation, part two: the cello takes the tune |
| 30. | The final variation, part three: piano and violin return as a duo... |
| 31. | The final variation, part four:...as do the viola and cello |
| 32. | The final variation, part five: the entire ensemble is reunited |
| 33. | Fourth movement (complete) |
| 34. | Introduction to the Finale: Schubert as wizard of repetition |
| 35. | Easily overlooked: the accompaniment from cello and double-bass |
| 36. | Contrasts of timbre and register |
| 37. | A repetition, and yet not a repetition |
| 38. | A journey begun: the phenomenon of musical gravity |
| 39. | The journey completed |
| 40. | The source of musical gravity |
| 41. | The Pianists (Excerpt) |
| 42. | A scale of shifting tensions |
| 43. | Finale (Excerpt) |
| 44. | Back to Schubert |
| 45. | The piano embellishes a scalewise descent |
| 46. | A retrospective moment |
| 47. | Repetition more apparent than real |
| 48. | A taste of phrase rhythm |
| 49. | Shifting patterns of accentuation |
| 50. | The section reviewed |
| 51. | An increasingly sophisticated texture as parts interact |
| 52. | More phrase rhythm |
| 53. | A repetition from the strings... |
| 54. | ....and an answer from the piano |
| 55. | In transition to the secondary key |
| 56. | The orgin of the second theme |
| 57. | The second main theme |
| 58. | The closing section begins, with a question answered |
| 59. | The question repeated, a slightly different answer |
| 60. | First theme of closing section reviewed |
| 61. | Remembrance of things past |
| 62. | The piano and strings argue over the harmony |
| 63. | Emergence of the final theme |
| 64. | An unexpected thunderstorm |
| 65. | The sound of silence |
| 66. | Cue to complete Finale |
| 67. | Finale (complete) |
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