When I told the story of the Schubert Octet three weeks ago, I mentioned how the root of that piece was Beethoven’s Septet. This was a massively popular piece and still brings people to concerts. It’s scored for violin, viola, cello, bass, horn, bassoon and clarinet. Beethoven distrusted popular tastes, and he came to dislike the piece because so many of the “unwashed” liked it.
It starts with a slow introduction marked “adagio”, “at rest”.
At 1:25, the sonata movement starts, marked “allegro con brio”, one of Lou’s favorite directions. I’m sure you remember your Professor Publius lessons, so I’m not going to dissect it.
The second movement in A-flat, marked “adagio cantabile”, “at rest and songlike”, begins at 10:57. It’s in the tradition ternary (A-B-A) format. The “B” section, started by the horn, is in C Major.
In third place is a minuet in E-flat at 20:47. It’s in the traditional format: AA-BB-CC-DD-AB.
When Schubert wrote his Octet, he attempted to one-up Beethoven in the use of instruments (eight versus seven) and the number of variations in the theme-and-variations movement (seven versus five).
The theme, marked “andante”, “a walking pace”, starts at 24:02 in B-flat Major. Remember the rule for theme-and-variations: The harmony supporting the theme must remain constant, but everything else is permitted to vary. One variation should be in the opposite mode (major versus minor).
Variation #1 at 25:00 features the strings alone, working around the theme.
Variation #2 at 25:56 features the strings with the theme while the winds make comments finishing the theme.
Variation #3 at 28:59 features the winds breaking the theme into canonic pieces while the strings provide discrete support.
Variation #4 at 28:01 is in E-flat minor with the violin tracing a filagree around the theme while the winds take it directly.
Variation #5 at 29:03 returns to the major with the strings and the winds taking turns with the theme.
The coda at 30:42 finishes it off cleverly.
Lou had problems with the popularity of the scherzo, marked “allegro molto e vivace”, “very fast and lively”. He heard it everywhere: on the piano, no doubt played poorly, as he walked past someone’s house; played by the resident quartet, perhaps a little better in quality, as he walked past a restaurant. The worst moment came when he heard it played on a hurdy-gurdy. He remarked, “I wish I had never written the damn thing!” I have this mental image of Lou saying, “May God strike me deaf if I have to hear it again!” It’s exuberant and sheer fun, and you can see why it captured everybody’s attention. It begins at 31:35, and the format is AA-BB-CC-DD-A-B.
The finale at 34:43 begins with a slow introduction marked “andante con molto alla marcia”, “very much a walking pace like a march”. It’s in the minor, but with a gently mocking tone. It’s just too sad to be serious.
The finale itself begins at 35:44 and is marked “presto”, “pedal to the metal.” It’s in sonata format. Remember your lessons! At the recap, the violinist improvises a cadenza at the fermata, a correct use of period performance practice.