Inside Chamber Music with Bruce Adolphe: Schubert's Cello Quintet in C major

Bruce Adolphe, CMS resident lecturer
Franz Schubert: Quintet in C major for Two Violins, Viola, and Two Cellos, D. 956, Op. 163 (1828)
Filmed live in the Daniel and Joanna S. Rose Studio on
October 23, 2019.
Artists: Daniel Phillips, Chad Hoopes, violin; En-Chi Cheng, viola; Mihai Marica, Inbal Segev, cello.

[@charles676]

I've always loved Shuberts music , it makes me relax and have peaceful creative thoughts.

[@militaryandemergencyservic3286]

absolutely riveting lecture by Adolphe. DO ONE ON THE G MAJOR D887

[@garrysmodsketches]

He already did, recently. And he is going to do another one in February. Yes, another lecture about the same quartet of Schubert!

[@kevinmoore4237]

I love these so much!

[@stephenmarmer543]

Long one of my favorite chamber works, described by George Steiner as almost a proof of God’s presence, this discussion is a tour de force. Thank you for adding to and deepening my experience of this great masterpiece. Bravo.

[@miklospohl4541]

My brain hurts but I loved this analysis by Mr Adolphe

[@StuartSimon]

Bruce makes it seem as though the pivot to A major leads out of the G4/2 chord (the G7 chord with the F in the cellos). Through listening to various performances of this piece, I know that some editions of the score actually have a double ending repeat with the G4/2 chord under the first ending. Whether we actually hear the development emerging out of the G4/2 chord actually depends on whether or not we just heard the chord.

[@j_drichmond]

This is brilliant! I have been working though understanding chord changes, modulation, and the usefulness of diminished chords (My Sweet Lord was an epiphany for me) and this has given me much more sonic insight-and homework.

[@StuartSimon]

Tchaikovsky. The structure of the first movement of his Fourth Symphony is based on rising minor thirds. F to A-flat to B to D to F.

[@ninjacoughdrop]

Could you do the other movements some time? Pretty please?

[@VallaMusic]

the whole coyote metaphor is frankly a tired romantic stereotype where passion and chaos are ludicrously conflated - as if passion somehow needs to be reigned it as some destructive force that is inherently antithetical to natural poetic form and coherent expression - hope musicians can let go of this silly notion

[@galek75]

Have you actually read any Romantic texts? Methinks you comment above your pay grade.