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(from a Facebook post - March 30th 2025) (Part 1/2) - Decoding and interpreting Schubert’s final chamber work - a personal take TLDR - it is all about duality. Once in a lifetime, you get to do something for the last time. No-one knows whether he intended this to be his final chamber piece. Did he want this piece to matter? To leave a message that would resonate for ages? As we know, at first, it did the contrary. To some, it remained that way for decades, and even longer. To me, it is more of a question of what was his last obsession? I think it is all about duality. If you pay attention, you will notice that almost no motif in the piece occurs without its pair. It becomes so evident that it’s almost distracting—at a certain point, you stop listening to the music and start noticing only the pairs. From the highest violin parts, down to the booming lowest notes of the violoncellos 1 and 2. Or, at times, quite the opposite? From the worldly, to the otherworldly. Harmonic themes - melodic themes. Major - minor. Loud - soft. Peace-agitation-peace with variation. Drunken state - State of prayer. Dance-fugue-more dance, but faster.. and faster… Db - C. Among all the interpretative battles fought over every tiny forcella, crescendo, and accent Schubert wrote, the debate over whether to play the repetitions is the most tiresome. There is only one right answer: to play all of them. The added range allowed in our interpretation allowed for additional variation in the repetitions, in a different octave, with a different colour, as he sometimes wrote it within the fractals - patterns within patterns. After all, it is every mathematician’s favourite prime number. This is why I have decided to share part of the two of our performances, in completely opposite acoustics. The same people, same instruments, same strings, different place, with a 1 day difference. For now enjoy this performance, and stay tuned for part 2.