Franz Schubert: Octet in F Major, D. 803 @BrilliantClassics

Uploaded January 2026 | Updated September 2026, 2 weeks ago

Experience Franz Schubert’s radiant Octet in F major (D. 803), one of the great masterpieces of chamber music that continues to captivate listeners today, performed with clarity and warmth. Explore this monumental work with concise insights and beautiful sound and subscribe for more deep dives into the classics.

Composer: Franz Schubert
Artist: Berlin Philharmonic Octet

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In a two week period in 1824, Schubert started and completed three of his greatest chamber works – the string quartets in A minor D804 and D minor D810 (Death and the Maiden), and the F major Octet. All three of the works from this short burst of creativity use material Schubert had used elsewhere – the song ‘Death and the Maiden’ in the D minor quartet, and themes from Rosamunde in the A major quartet. For the Octet he quotes from an Ave Maria from the following year, and in the fourth movement an aria from his opera ‘Die Freunde von Salamanka’ is used for the variations.

In mood the Octet is the sunniest of the works from this period, and even though Schubert wrote that he was full of happiness for ‘the ray of sunlight for the past sweet days’, all the other works contain moments of darkness and foreshadow in places the bleakness that dominates the later piano sonatas, Winterreise and for example the slow movement of the sketched Tenth Symphony . The Octet was premiered in 1827, but not published until 1853.

Performed by members of the Berlin Philharmonic Orchestra.

Tracklist:
Octet in F, D. 803, Op.Posth. 166 for Clarinet, Horn, Bassoon, String Quartet and Double Bass:
0:00:00 I. Adagio - Allegro
0:15:33 II. Adagio
0:26:20 III. Allegro Vivace - Trio
0:32:31 IV. Andante Con Variazioni
0:44:58 V. Menuetto: Allegretto
0:52:35 VI. Andante Molto - Allegro

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Franz Schubert: Octet in F Major, D. 803

$Debussy: Complete Piano Works Vol. 3 | 12 Études, Estampes and more! Alessandra Ammara’s acclaimed Debussy survey continues with Volume 3, centering on the remarkable 12 Études composed in just two months during the summer of 1915. Written on the Normandy coast during a period of illness and financial strain, these late works capture Debussy’s final burst of creativity, inspired once again by the sea. 💎 🎵 Purchase, stream or download (Spotify, Apple Music, Amazon, Presto): https://pianoclassics.lnk.to/DebussyCompletePianoVol3ID 🎬🎮 These tracks are available for sync licensing in videos, films, TV shows, games, advertising, and more. For licensing inquiries: info@brilliantclassicslicensing.com Composer: Claude Debussy Artist: Alessandra Ammara (piano) Principally surveying the Préludes and Images, the first two volumes of Alessandra Ammara’s Debussy survey have attracted praise for their affinity with the composer’s elusive but painterly idiom. According to Fanfare, ‘Ammara reveals her sensitivity to the Debussy sound world, rife with blurred outlines of objects and infiltrated with variegated light, in the manner of the painter J.M.W. Turner.’ For Volume 3, her focus turns principally to the set of 12 Etudes which miraculously took shape over the course of just two months, in August and September 1915. Plagued by ill-health following the diagnosis of rectal cancer in 1909, presented with the pressing need to increase his earnings through editing and performing, Debussy wrote the Etudes while staying in a town near Dieppe, on the Normandy coast. Emerging from a period of severe depression, he once more took inspiration from the sea in a sudden and final burst of creativity which also saw the composition of the suite for two pianos, En blanc et noir, and the Sonata for Flute, Viola and Harp. However, it is the 12 Etudes which have come both to define Debussy’s late style – on the piano, as a counterpart to his ballet for Diaghilev, Jeux – and to present both a model and a challenge to later composers of piano etudes from Tansman to Ligeti. Debussy himself said that they were “a warning to pianists not to take up the musical profession unless they have remarkable hands”. While the dry titles of the individual Etudes serve to conceal their rich and turbulent inner landscape, aspects of their invention are prefigured by the earlier works on Alessandra Ammara’s album. The three movements of Estampes are as much ‘studies’ in their way as the Etudes – of particular kinds of movement refracted through the images of a Japanese pagoda, a Spanish evening and a garden in the rain. From 1904, and capturing the passion of his affair with Emma Bardac, L’isle Joyeuse references both the island of Jersey and a painting by Watteau, but it also serves as a study in superimposed scales. Tracklist: 12 Études: 0:00:00 I. Pour les cinq doigts (after M. Czerny) – Sagement. Animé, mouvement de gigue 0:03:27 II. Pour les tierces – Moderato, ma non troppo 0:07:29 III. Pour les quartes – Andantino con molto 0:13:47 IV. Pour les sixtes – Lento 0:18:24 V. Pour les octaves – Joyeux et emporté, librement rythmé 0:21:24 VI. Pour les huit doigts – Vivamente, molto leggiero e legato 0:23:12 VII. Pour les degrés chromatiques – Scherzando, animato assai 0:25:41 VIII. Pour les agréments – Lento, rubato et leggiero 0:31:22 IX. Pour les notes répétées – Scherzando 0:34:58 X. Pour les sonorités opposées – Moderé, sans lenteur 0:40:27 XI. Pour les arpèges composés – Dolce e lusingando 0:45:21 XII. Pour les accords – Décidé, rythmé, sans lourdeur Estampes: 0:50:09 I. Pagodes 0:55:23 II. La soirée dans Grenade 1:00:31 III. Jardins sous la pluie 1:04:40 D’un cahier d’esquisses 1:09:49 L’isle Joyeuse 1:16:08 Masques 📲 Follow us on Social media: @BrilliantClassics & @PianoClassics #Debussy #12Etudes #PianoWork #PianoMusic #ClassicalMusic #AlessandraAmmara #ClassicalPiano #Piano #CompletePianoWorks #Vol3 #PianoClassics #BrillianClassics$

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