Schumann Piano Quintet in E flat major op.

44

First movement

1-25 - 1st subject – Energetic main theme in E flat. Quieter parts based on same idea,
using rising sequence. Ends on chord V.
27 – Transition begins
51-56 - Anticipation of new idea in piano before…
57 - 2nd subject – new theme in B flat major played twice, with more countermelodic
ideas added the second time.
80 – Antiphony between cello/vla with countermelody at 80 in vln.
99-107 – Con fuoco transition to [1a]
108-115 – [1a] now in B flat major functioning as codetta where the first theme is
repeated in the dominant.
Exposition repeats before going on to the development.
116-127 – Transition to
128 – Theme [1a] in A flat minor. Development focused particularly on motifs
derived from the first theme (diminution) with extensive modulation.
Recapitulation – as exposition with some adaptation to arrive at the tonic…
207 for [1a]
233 – Transition begins [as before]
236 – note this chord of Gb minor 7… by the time we’ve had three ascending
sequences, as before, we arrive at
256 – on a chord of F major – the dominant of the new key for the second subject.
257 – transition to…..
263 - second subject to be in E flat, not B flat as before [in 57]
314 - Coda to end, again using first theme in a more extended way than the earlier
codetta, and now in E flat to finish. (Nice descending bass line 323-328)

Second movement

1-3 - After an initial Cmi arpeggio [theme 1a] in the piano to set the tonality….
4-10 - 1st march theme passes around the strings – largely homophonic in its
accompaniment under the melody. Many IVb chords and interrupted cadences (5/4 to
6/1) to give an unsettled feel.
10 & 25 – [1a] returns as transition bar between [1a] and [1b]
25 - Repeat, then…
25-28 short codetta with V-I to finish first section.
30-62 - second more lyrical theme in C major, using ‘rocking’ quaver figuration in
strings (vln 2/vla) against piano crotchet triplets. Vc fortifying vln 1 homophonically.
63 – repeat, then returns to first theme
84-91 – Transition to….
92 - F minor ‘Agitato’ section with ideas derived from the first theme, particularly a
triplet motif in the piano and the ‘march’ rhythmic idea from bar 4 recognisable in the
strings. This returns in the viola at….
109 [after the repeat] with broken chord piano figurations and tremolando vln II,
layered with the initial ‘agitato’ triplet theme, now in vln I.
133 - Returns to the second theme, in F major, before returning to…
165 - the first theme in F minor then C minor.
Ends with tierce de Picardie (C major chord) although this is implied from 188 with E
nat. in vln II.
Third movement

Scherzo – Trio 1 – Scherzo – Trio 2 – Scherzo and Coda

Scherzo in E flat major with theme based on ascending/descending diatonic scales –

largely homophonic with occasional cross rhythms/briefly sustained chords in piano
45 - Trio 1 in G flat major, continues triplet movement from Scherzo theme. Calmer
in mood. Piano accompaniment (in octaves) based on broken chords. String
antiphony.
77 - Scherzo returns, leading onto
Trio 2 in Ab minor, using semiquaver movement [2/4 rather than 6/8] instead of
triplets, which contrasts with the chromatic crotchet motif.
Also moves through several keys, becoming entirely scalic and increasingly in unison
before returning to…
196 - Scherzo in E flat again
240 - Coda based mostly on Scherzo theme. Alternating tonic pedal in piano initially,
but also in Vc. from…
251-257. Perfect cadence into….
258 – last seven bars establish E flat in descending broken chord patterns.

Fourth movement

1-5 – First theme in G minor initially, although this is uncertainly established.

Development of this theme until….
21 – Second theme based on series of ascending scales. Gentler in nature (hints of E
flat major early on)
29 – restatement of first theme in vln 1
43 – Modulation into G major and diminution of second theme in piano part. Greater
lyricism in strings alternating with pizz homophonic sections before….
51 – third theme – descending scalic. Voice exchange between strings.
77 – restatement of first theme in B minor
85 – transition theme in B major leads to
95 – dim7th chord of C sharp followed by V [in Bma] shown in piano and vla,
playing snippet of third theme. Use of dim7th chords, re-establishment of Bma
before….
115 - marcato quaver adaptation of third theme in vla. Gradually builds before…
136 – first theme now in G sharp minor. The music continues as at the opening, with
178 - the second theme in E flat and….
186 – the third theme, also in E flat.
224 – new offbeat idea ‘con anima’ in piano RH over sustained accompaniment in
strings. Moves to
248 – a contrapuntal texture combining first theme in piano with scalic idea in vln 1.
More themes from the early part of the movement are reintroduced [274] before rising
chromatic chords bring us to E flat in…
300 – dramatic and bold, largely homophonic passage establishes V-I in E flat before
319 – sees the introduction of a double fugue – first theme of movt 1 and first theme
of movt 4 [slightly adapted] combined. Texture thickens towards…
371 – where a more homophonic texture occurs [chords of Eb7 and Eb dim] and
378 – the offbeat idea from 224 returns.
402 – coda with increasingly homophonic and unison writing to establish firmly the
home key of E flat.
421-427 – last seven bars a very ‘Classical’ treatment of E flat to finish with, just as
the end of movt 3.