Program
Schubert: Piano Quintet
‘The Trout’, D.667
I. Allegro vivace
II. Andante
III. Scherzo: Presto
IV: Andantino – Allegretto
V: Allegro giusto
Intermission
Vaughan Williams:
Piano Quintet in C minor
I. Allegro con fuoco
II. Andante
III. Fantasia (quasi variazoni). Moderato
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Jeremy Ferland, violon
Sarah Kwok, viola
Judy Lou, cello
Andrea Tremblay, piano
Michael Vaughan, bass
Franz Schubert: Piano Quintet in A major, “The Trout,” D. 667
- What you’ll hear: Bright, sunny music that feels like a conversation among friends. Instead of the usual string quartet with piano, Schubert adds a double bass and leaves out the second violin. That gives the sound extra warmth and buoyancy—the bass lets the music dance lightly on top.
- Why it’s called “The Trout”: The nickname comes from the fourth movement, a set of playful variations on Schubert’s own song “Die Forelle” (The Trout)—a tune about a quicksilver fish darting through a clear stream. You’ll hear that catchy melody return again and again, each time dressed up differently by the instruments.
How the piece unfolds
- Opening movement: A generous, songful start—tuneful and welcoming, with a gentle sparkle at the piano.
- Andante: A calm, singing duet spirit passes between instruments; simple lines, heartfelt harmony.
- Scherzo: Lively, outdoorsy rhythms—think fresh air and easy laughter—framed by a more relaxed trio in the middle.
- Theme and Variations (“The Trout”): The famous song appears, then five characterful variations—now the cello sings, now the viola, now the piano twinkles—showing the melody in new colors.
- Finale: A cheerful, quick close that feels like a friendly wave goodbye.
What to listen for
The bass’s warm foundation, the piano’s rippling “water” figures, and Schubert’s gift for melodies you can hum on the way home.
Ralph Vaughan Williams: Piano Quintet in C minor
- First impressions
Lush, expressive, and surprisingly grand for chamber music. Written when Vaughan Williams was in his early thirties, it blends late‑Romantic warmth with the first hints of the English musical voice he later became famous for.
- The sound world
Instead of classical sparkle, expect a richer, darker colour, like looking at a landscape in evening light. The piano often adds a noble weight; the strings answer with broad, singing lines. You may catch moments that feel Brahmsian in depth, yet the harmonies already lean toward Vaughan Williams’s spacious, folksong‑tinged style.
How the piece unfolds
- Allegro con fuoco: Dramatic opening energy—firm rhythms, bold harmonies—balanced by lyrical replies. It feels like a symphonic argument scaled to a living room.
- Andante: The heart of the work—long, unfolding melodies, gentle suspensions, and that “English twilight” glow. Time seems to widen here.
- Fantasia (Finale): Freer in character. Ideas appear, return, and transform. The music gathers momentum and resolves with satisfying breadth.
What to listen for
Deep string sonorities against the piano’s resonance; broad, arching themes that breathe; and harmonies that open up space rather than rush forward; hallmarks of the composer Vaughan Williams would soon become.
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