climax of the development leads to a particularly quiet recapitulation, much varied at its opening from what we had heard originally. In the coda the opening of the quartet, both its rhythm and its major/minor exchanges, get a further chance to play themselves out. There is a remarkably innovative harmonic passage in the first movement. Between mm. 414 and 429 Schubert prolongs G major with an equal subdivision of the octave using major thirds. Passing seventh chords in the bass provide a smooth linear progression connecting these major thirds, the result of which is a whole tone descent in the bass-voice, in this case the cello. The following major third prolongations occur: G(mm. 414-416) E-flat (mm. 417-418) B(mm. 419-420) G(mm. 421-422) E-flat(423-426). In measure 426 Schubert enharmonically reinterprets this dominant-seventh structure, resolving it as a German augmented 6th, thus proceeding bVI-V-I in mm. 427-429. II. Andante un poco moto The dramatic slow movement contains much in the way of a march rhythm and sudden upward violin glissandos followed by drops to the lowest string, and again much use of tremolo. This movement utilizes dramatic variations of ideas between subsequent episodes. The first episode containing a harmonically static solo in the cello accompanied by pizzicato. It abruptly shifts to a fortissimo episode in m. 43 reinforced by way of unisons in rhythms and octaves. This dramatic return of the theme from the first idyllic one is unlike the resolution of the theme in the first movement. III. Scherzo. Allegro vivace – Trio. Allegretto The scherzo is light-textured, fleet for much of its span, foreshadowing those of Mendelssohn. The trio is a mild accompanied duet, first between cello and first violin, then first violin and viola, then again cello and first violin. The trio's theme played by the cello is a reiteration of the second movement theme, also played by the cello. The third movement can be seen as a replication in form from the preceding movement. Here the scherzo and trio trade themes and in the second movement the theme and episodes similarly trade themes. IV. Allegro assai The finale continues the ambiguous form of the preceding movements in an extended movement where it is unclear if the movement is in sonata or rondo, G major or G minor. The opening theme has more rapid extremes in its exchanges between major and minor modes than that of the first movement. The