The String Quartet No. 15 in G major, D. 887, was the last quartet written by Franz Schubert in June 1826. It was posthumously published in 1851, as Op. 161. The work focuses on lyrical ideas and explores far-reaching major and minor modes, which was uncommon to this degree in his compositions. Schubert reinforced this with a range of dynamic contrast and use of texture and pizzicato. The structural form of the movements in this quartet are somewhat ambiguous due to Schubert's focus on lyricism rather than traditional harmonic structure. Analysis The four movements of the quartet are: Allegro molto moderato (G major) Andante un poco moto (E minor) Scherzo. Allegro vivace – Trio. Allegretto (B minor) Allegro assai (G major) The length of performance of the quartet is about 45 minutes. I. Allegro molto moderato The first movement is based around a motive of chromatic descending fourths within alternating major and minor modes. The main lyrical theme of the movement which begins with a sixteenth note pickup to a dotted eighth note will be heard in many variations throughout the rest of the movements of the quartet. The first movement features extensive tremolo, which also leads into the repeat of the exposition. While many composers deconstruct a theme to smaller and smaller parts, Schubert is known for his lyricism and instead continually expands the theme. This may include the use of a motive in triplets to connect the first and second main groups of this sonata form; the second group opens, exactly as happens in the later-written String Quintet and similar to the technique in some works by Beethoven — not in the dominant key but with a quiet theme in the mediant, B-flat, with rhythm not quite the same as that of the lyrical theme that slowed matters down early on (bar fourteen, again), and adding to the texture with pizzicato accompaniment. There is a triplet-dominated, agitated transition and the same theme is heard, now in D, with triplet accompaniments; the triplets, not the theme, continue to the end of the exposition, and descend gradually from D down to G major for the repeat, or for the second ending and the beginning of the development, where continuity means the continued rustling of quiet strings, building for a bit by exchanging with more energetic passages, then bringing in faster versions of the dotted rhythms of the main themes. The