Franz Schubert: 鳟鱼 Piano Quintet In A Major D.667(1)-朗朗钢琴

鳟鱼五重奏 (The Trout Quintet) 是 舒伯特 1817 年所写的一首 五重奏 乐曲的通俗称呼。这首五重奏在 Otto Erich Deutsch 的舒伯特作品目录里的正式名称是 “A 大调钢琴五重奏 Op.114” ，作品编号 D.667 。而 “ 鳟鱼 ” 只不过是第四乐章的副题，而并非整个五重奏的名称。这首作品于 1819 年 完成，当时舒伯特只有 22 岁，亦是他一生唯一的一首钢琴五重奏乐曲。

与一般五重奏不同之处是，这首五重奏是一首由 钢琴 、 低音大提琴 、 大提琴 、 中提琴 及 小提琴 一起合奏的乐曲。一般的五重奏并没有低音大提琴，但有两个小提琴。

本乐曲之所以叫作 “ 鳟鱼 ” ，是因为它改编自舒伯特另一首同名的早期作品。

(1)

这部为钢琴与大、中、小提琴和低音提琴所做的作品共分五个乐章，以第四乐章最为着名。在原作的歌曲中，作者先以愉快的心情，生动描绘了清澈小溪中快活游动的鳟鱼的可爱形象；而后，鳟鱼被猎人捕获，唉。

(2)

Lang Lang - piano
Radoslaw Szulc - violin
Hermann Menninghaus - viola
Sebastian Klinger - violoncello
Karl Wagner - double bass

• 1. Allegro vivace in sonata form. As commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert's harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flattened submediant) in the eleventh bar. The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones. The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary - a frequent phenomenon in early sonata form movements written by Schubert.It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.

• 2. Andante in F major (the flattened submediant of the work's main key, A major). This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began. Each section contains three themes. The striking feature of this movement is its tonal layout: the tonality changes chromatically, in ascending half tones, according to the following scheme (some intermediate keys of lower structural significance have been omitted): F major - F sharp minor - G major - A flat major - A minor - F major. Such a tonal structure is revolutionary to the harmonic concept of Classical composers such as Mozart and Beethoven

• 3. Scherzo: Presto. This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major - the flattened mediant.

• 4. Andantino - Allegretto in D major (the subdominant of the work's main key), a theme and variations on Schubert's Lied Die Forelle. As typical of some other variation movements by Schubert (in contrast to Beethoven's style) ^[4] , the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. In the first variations, each variation features the main theme played by a different instrument or group. Schubert's innovation and originality lies in the fifth variation, coming after the traditional variation in the minor key ^{[citation needed]} . Rather than returning immediately to the tonic major, Schubert begins this variation in the flat submediant (B flat major), and creates a series of modulations within the variation, eventually leading back to the movement's main key, at the beginning of the final sixth variation. Schubert repeated this unique harmonic structure within a variation movement, in three of his later compositions: the octet in F major, D. 803 (fourth movement); the piano sonata in A minor, D. 845 (second movement); and the Impromptu in B-flat major, D. 935 No. 3. The concluding variation is highly similar to the original Lied, and shares the same characteristic accompaniment in the piano, based on a musical motif picturing the trout appearing and disappearing in the water (depicted by rising and falling notes, respectively)
  
  
  (from wikipwdia, http://www.05sun.com/downinfo/16179.html)