Following the summer, during which Schubert—his health failing—completed the Fantasy in F minor for piano four hands and the Mass in E-flat major, he moved on September 1, 1828, to his brother's apartment in the Viennese suburb of Auf der Wieden. There, he hoped the fresh country air would alleviate his ailments. However, even the new, still damp house brought no relief from his bouts of vertigo. Originally intended only as a short-term stay, this home ultimately became his last.
Throughout September, Schubert concentrated on composing his last three piano sonatas (D 958, D 959, D 960). As early as the beginning of October, he informed his publisher, Probst, that these sonatas, the String Quintet, and several song settings were nearing completion. Shortly before his fatal bout of typhus in October, he signed the manuscripts of the sonatas. It is noteworthy that two weeks before his death, he sought advice on counterpoint from Simon Sechter, a renowned music theorist.
Schubert apparently composed these last works not on commission, but out of an inner need to capture his musical thoughts before his life ended. His early death at only 31 years of age left many questions unanswered. While the immediate source of inspiration remains uncertain, it is recorded that he participated in a performance of Beethoven's Quartet Op. 131 at that time, which may have had an influence.
For the quintet, Schubert deliberately opted against the usual double viola ensemble and instead chose a second cello, thereby opening up new sonic possibilities and a greater range of expression. The work was published just ten days after his death and quickly became very popular.
The quintet reflects Schubert's predilection for thirds, both harmonically and tonally. In the Adagio in E major, a gentle theme, presented by violin and viola, creates an almost timeless atmosphere. The musical development unfolds through a variety of moods, culminating in a striking coda.
This is followed by the Scherzo, which appears as a lively, contrasting peasant dance and leads into the Andante sostenuto, in which Schubert's contemplation of his own mortality is reflected. The concluding Allegretto underscores his predilection for powerful musical structures and triplet motifs.
As a masterpiece of chamber music, the String Quintet reveals Schubert's versatility and extraordinary talent. Although his contribution was only fully recognized after his early death, as George Eliot aptly put it, his music lives on today with undying freshness.