Franz Schubert
Streichquartetts Nr. 14, d-moll, op. post., D 810, Der Tod und das Mädchen
String Quartet No 14 in D minor, Der Tod und das Mädchen (Death and the Maiden)
Alban Berg Quartet
1.Allegro, in D minor and common time 0:00
2.Andante con moto, in G minor and divided common (2/2) time 11:32
3.Scherzo: Allegro molto, in D minor and 3/4 time 22:13
4.Presto, in D minor and 6/8 time 25:44

The String Quartet No. 14 in D minor, known as Death and the Maiden, by Franz Schubert, is one of the pillars of the chamber music repertoire. Composed in 1824, after the composer suffered through a serious illness and realized that he was dying, it is Schubert's testament to death. The quartet is named for the theme of the second movement, which Schubert took from a song he wrote in 1817 of the same title; but the theme of death is palpable in all four movements of the quartet.

The quartet was first played in 1826 in a private home, and was not published until 1831, three years after Schubert's death. Yet, passed over in his lifetime, the quartet has become a staple of the quartet repertoire.
The quartet takes its name from the lied "Der Tod und das Mädchen", D 531, a setting of a poem of the same name by Matthias Claudius which Schubert wrote in 1817. The theme of the song forms the basis of the second movement of the quartet. The theme is a death knell that accompanies the song about the terror and comfort of Death

The first movement runs a relentless race through terror, pain and resignation, ending with a dying D minor chord.

The second movement is a theme and five variations, based on the theme from the Schubert Lied. The theme is like a death march in G minor, ending on a G major chord. Throughout the movement, Schubert does not deviate from the basic harmonic and sentence structure of the 24-measure theme. But each variation expresses a profoundly different emotion. In the first variation, a lilting violin descant floats above the theme, played in pulsing triplets in the second violin and viola that recall the triplets of the first movement.In the second variation, the cello carries the theme, with the first violin playing the pulsating role – this time in sixteenth notes. After two relaxed variations, the third variation returns to the Sturm und Drang character of the overall piece: a galloping fortissimo figure breaks off suddenly into piano; the violin plays a variant of the theme in a high register, while the inner voices continue the gallop. The fourth variation is again lyrical, with the viola carrying the melody under a long violin line in triplets. This is the only variation in a major key – G major. In the fifth variation, the second violin takes up the theme, while the first violin plays a sixteenth-note arpeggiated motif, with the cello playing the triplets in the bass. The variation grows from pianissimo to fortissimo, then again fades and slows in pace, finally returning to a restatement of the theme – this time in G major.

The scherzo is designed as a classical minuet: two strains in 3/4 time, repeated, in D minor, followed by a contrasting trio section in D major, at a slower tempo, and ending with a recapitulation of the opening strains. The trio section is the only real respite from the compelling pace of the whole quartet: a typically Schubertesque melody, with the first violin playing a dancing descant above the melody line in the lower voices.

The finale of the quartet is a tarantella in rondo-sonata form, in D minor. The tarantella is a breakneck Italian dance in 6/8 time, that, according to tradition, was a treatment for madness and convulsions brought on by the bite of a tarantula spider. The movement opens with the main section of the rondo in unison, with a theme based on a dotted figure.The theme develops characteristically, with sudden lurches from loud to soft and running triplets, leading to the second section of the rondo: a broad, chorale-like theme. A crescendo leads to the Prestissimo coda of the movement and of the piece. The coda begins in D major, suggesting a triumphant end – a device common in classical and romantic quartets. But in this case, the coda suddenly returns to D minor, for a tumultuous and tragic conclusion.

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