Clara Schumann: Piano Trio in G Dvořák Piano Schubert Piano Rachmani Fanny
nov: Trio Mendelss
minor Mov 1 - 1846 Trio No.4 Mov Trio No.1 Mov 1 elégiaque ohn Piano
1 - 1891 - 1828 No.1 - Trio
1892
Context German, best known in her lifetime as a More innovative, More Classical is More Woman
concert pianist but later style, but earliest innovative, compose
Female composers were not expected or Prominent example piece but later r
encouraged of a piece of Elegy – 1840
Taught by her father and had composed chamber music piece of Experien
as part of her musical education (most deviating strongly serious ced
feature piano) from the customary reflection, similar
Composing decreased as family form of Classical often situation
responsibilities became more difficult chamber music lamenting Lack of
Ran household + main breadwinner in Duma form the dead teaching
family
Worked with leading violinist Joseph
Joachim and corresponded with Brahms
Piano Trio = one of the most important
forms of chamber music
Much chamber music written for
performance in salons of the
patrons/performers, as well as the concert
hall
Perform Violin: double stopping heightens drama Cello: high register Large range of the Violin/
ing of ending, mainly within two octaves used in lamenting piano used – low cello
Cello: support harmony in resonant low melody accomp at often
Forces
range (e.g. pedals) to high register Piano: decoration beginning, high have
+ melodies (e.g. first subject melody) to melodies register subject melodies
Sonority Piano: large range (e.g. very low in (oscillating/ runs), Cello + violin often together
bridge) despite middle range being chordal support have the melodic (e.g.
favoured, melodic and accompaniment material unison at
textures, typical of Romantic period, more Both ominous + Pizz (light) + double start)
intimate/less virtuosic than some light hearted stopping (often used Piano
Beethoven, well-balanced (e.g. using low sections at end of phrases in often
register to avoid masking strings) dramatic moments) scalic
Each has prominent passages (all have semis
, fairly equal roles), not particularly Dramatic whilst still accomp.
virtuosic sounding Classical (esp. LH)
in style Resonant
low cello
long
notes
Structur Sonata form (established in Classical Duma form: Exposition ends with One
e period) lamenting a new transitional movement
Exposition: first subject (violin, taken up composition with idea – a new theme? of sonata
by piano), bridge passage, second subject cheerful sections Recapitulation not from with
(repeated) interspersed within straight repeat – exposition
Development A1B1A2B2 – repeats first theme = violin, containing
Recapitulation: verbatim repeat up to include similar cello, violin, cello, 12
bridge section material, but use piano, second theme episodes
Coda: transitions to new melody based on different in tonic around a
first subject, final statement of first instrumentation, central
subject, violin imitation + repeated accomp. + colours theme
cadences
Texture Discursive form, so textures frequently Thin, monophonic First theme: begins Choral
changing solos with theme in octave
Clara studied counterpoint in 1840s – Violin + cello duets octaves with piano piano
contains many contrapuntal sections, – melody + quaver ostinato and melody
particularly the development (e.g. close supporting dotted rhythm over
imitation between strings with piano sustained harmony accomp contrary
quaver figurations) Thick piano chords motion
Homophony: thick accomp chords under under duets tremolo
first subject, beginning of bridge (+ 3 part writing in strings
homorhythmic) allegro Imitation
Polyphonically animated homophony: of cello +
piano melody, thick chordal accomp + violin over
string countermelodies chords +
Monophony: bridge – with crotchet beats semiquave
on 2+4 r broken
Pedal textures: e.g. violin+cello dominant chords
pedal
Tonality Following Classical tonality principles of E minor (lento) and Bb major, second G minor
sonata form E major (allegro) iteration of first Modulates
nov: Trio Mendelss
minor Mov 1 - 1846 Trio No.4 Mov Trio No.1 Mov 1 elégiaque ohn Piano
1 - 1891 - 1828 No.1 - Trio
1892
Context German, best known in her lifetime as a More innovative, More Classical is More Woman
concert pianist but later style, but earliest innovative, compose
Female composers were not expected or Prominent example piece but later r
encouraged of a piece of Elegy – 1840
Taught by her father and had composed chamber music piece of Experien
as part of her musical education (most deviating strongly serious ced
feature piano) from the customary reflection, similar
Composing decreased as family form of Classical often situation
responsibilities became more difficult chamber music lamenting Lack of
Ran household + main breadwinner in Duma form the dead teaching
family
Worked with leading violinist Joseph
Joachim and corresponded with Brahms
Piano Trio = one of the most important
forms of chamber music
Much chamber music written for
performance in salons of the
patrons/performers, as well as the concert
hall
Perform Violin: double stopping heightens drama Cello: high register Large range of the Violin/
ing of ending, mainly within two octaves used in lamenting piano used – low cello
Cello: support harmony in resonant low melody accomp at often
Forces
range (e.g. pedals) to high register Piano: decoration beginning, high have
+ melodies (e.g. first subject melody) to melodies register subject melodies
Sonority Piano: large range (e.g. very low in (oscillating/ runs), Cello + violin often together
bridge) despite middle range being chordal support have the melodic (e.g.
favoured, melodic and accompaniment material unison at
textures, typical of Romantic period, more Both ominous + Pizz (light) + double start)
intimate/less virtuosic than some light hearted stopping (often used Piano
Beethoven, well-balanced (e.g. using low sections at end of phrases in often
register to avoid masking strings) dramatic moments) scalic
Each has prominent passages (all have semis
, fairly equal roles), not particularly Dramatic whilst still accomp.
virtuosic sounding Classical (esp. LH)
in style Resonant
low cello
long
notes
Structur Sonata form (established in Classical Duma form: Exposition ends with One
e period) lamenting a new transitional movement
Exposition: first subject (violin, taken up composition with idea – a new theme? of sonata
by piano), bridge passage, second subject cheerful sections Recapitulation not from with
(repeated) interspersed within straight repeat – exposition
Development A1B1A2B2 – repeats first theme = violin, containing
Recapitulation: verbatim repeat up to include similar cello, violin, cello, 12
bridge section material, but use piano, second theme episodes
Coda: transitions to new melody based on different in tonic around a
first subject, final statement of first instrumentation, central
subject, violin imitation + repeated accomp. + colours theme
cadences
Texture Discursive form, so textures frequently Thin, monophonic First theme: begins Choral
changing solos with theme in octave
Clara studied counterpoint in 1840s – Violin + cello duets octaves with piano piano
contains many contrapuntal sections, – melody + quaver ostinato and melody
particularly the development (e.g. close supporting dotted rhythm over
imitation between strings with piano sustained harmony accomp contrary
quaver figurations) Thick piano chords motion
Homophony: thick accomp chords under under duets tremolo
first subject, beginning of bridge (+ 3 part writing in strings
homorhythmic) allegro Imitation
Polyphonically animated homophony: of cello +
piano melody, thick chordal accomp + violin over
string countermelodies chords +
Monophony: bridge – with crotchet beats semiquave
on 2+4 r broken
Pedal textures: e.g. violin+cello dominant chords
pedal
Tonality Following Classical tonality principles of E minor (lento) and Bb major, second G minor
sonata form E major (allegro) iteration of first Modulates
