His final years were both incredibly creative and tragically difficult. He knew he was dying—though no one’s quite sure from what. Theories range from syphilis to typhoid, but whatever it was, it left him seriously ill. Still, in his last year, he composed some of his greatest works, including this powerful String Quintet in C Major. Many see this late burst of brilliance as his way of staring death in the face—and writing anyway.
Schubert’s String Quintet in C Major is one of the most beloved chamber works of all time. It’s filled with beautiful melodies, rich harmonies, and a warm, luxurious sound—thanks in part to Schubert’s unusual choice to use two cellos instead of two violas. Unlike earlier composers who used the second cello to show off, Schubert gave all five players equal voices, creating a true team effort.
1st movement: slow introduction with slow harmonic rhythm. The quintet is briefly divided into two quartets. Almost a polychoral (Gabrieli) effect. A long lyrical section establishes the key of E-flat in which different combos of instruments play in duets.
The development section evokes a distinct restlessness, modulating through different keys (enharmonic modulations at m. 180 and m. 196 and a driving syncopated rhythm throughout. The opening material returns at m. 267 but with 8th note embellishments. Recapitulation is in the subdominant!
2nd movement: This movement is like a Barcarolle or Venetian boat song with two undulating figures in the 1st violin and 2nd cello. These figures are supported by rich harmonic colorations in the middle three voices. At m. 29 there is a sudden shift to a “strum und drang” style - perhaps the boat has encountered a storm!? Fierce triplet and syncopated figures predominate throughout the busy and fiery texture before quieting to a solemn and still transition at m. 57. The recap features a modulation from 4 flats to 4 sharps where, once again, the 1st violin and 2nd cello are in dialogue with the inner voices supporting once again.
3rd movement: a torrential Scherzo featuring crunchy, dissonant double-stops pitted against one another in 5ths and octaves. The exuberant violin figurations are embellished by driving 8th notes in the viola and 1st cello. The swirling, hard-driving Scherzo ends with a ringing and decisive C-major chord. The Trio which follows is a complete change of character with a new duple meter and D-flat key. The Trio ends with an 8 bar retransition, an idea that Schubert got from Joseph Hayden’s Symphony #99. This retransition is an effective device which “revs up” the music for the return to the furious Scherzo.
4th movement: A sprightly and perhaps rustic Hungarian style dance in a big Rondo form A (a minor) B (m. 46 moves to C Major) Transition (m. 118 with foggy key areas) A (m. 69) C (m. 214) B (m. 268) Transition material again (m. 320) A rousing concluding Coda which recaps A!
In short: this piece is a masterclass in emotion, balance, and imagination—proof of Schubert’s genius, even in his final year.
Below we have a link to the score if you want to nerd out and read along!
Franz Schubert was an Austrian composer who packed a ton of beautiful music into his short 31 years. Despite his early death, he gave us timeless pieces like Ave Maria—which you’ve probably heard at weddings, church, or just about everywhere—and the Trout Quintet, which shares a melody with his song Die Forelle.
Fun fact: that catchy tune your Samsung washing machine plays?
Yep, that’s Schubert’s Die Forelle.
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