C. Schumann Piano Trio in G minor

Points for structure

• Classic/strict sonata form - made up of exposition, development and recapulation.

Exposition -based off 2 subjects, only one is developed, but both return in the recapulation

Development - use of chromaticism

Recap is clear

Structure WL reference to ‘exposition being based off two subjects’ point

• While the exposition is based on two subjects, one of which is developed and then both returned in the recapitulation…

Brahms’ clarinet trio in A Minor uses 3 themes and drops one for the development section, and all three reappear for the recapulation.

STRUCTURE WL link to clear recapitulation

Symphonie fantastique

Doesn’t use written repeats as clara Schumann does

Points for tonality

• Has the home key of G minor

• Use of closely related keys throughout piece (as sonata form is partly about key contrast)

• For example, in the exposition, the first subject is in G minor, which modulates to the relative major of B flat major in the second subject.

Tonality WL reference to ‘use of related keys’ point

Berlioz symphonie fantastique

Modulates to C major in the link to the exposition

Points for harmony

• is predominantly tonal and diatonic, and uses functional progressions

• Use of a cadential 6/4 in the 1st subject of exposition

• More complex chords are used using chromatic harmony, for example the second subject has a phrase based on a diminished 7th chord.

• Use of cycle of fifths in the codetta to create strong functional progressions, as well as clear tonal direction. It also allows for smooth modulation to related keys.

HARMONY: WL LINK to cad 6/4

Berlioz symphonie fantastique

Uses a cadential 6/4 before link into exposition

Harmony WL reference to ‘complex chords using chromatic harmony’ point

piano quintet in E flat major - Robert Schumann

Similar harmonic language

Rich chromatic chords within a chamber setting

Harmony WL reference to ‘cycle of fifths’ point

Mendelssohn also uses fifth-based sequences to pivot between keys in his Piano Trio in D minor.

Points for melody

• Uses sufficient contrast between her main melodic ideas.

• The first subject of expo features a descending fifth followed by anscending fifth (hook)played by violin, which then moves to piano. Has many octave leaps

• 2nd subject features imitation between violin and cello

Melody WL reference to ‘octave leaps’ point

Piano quintet in e flat major - Robert Schumann

Uses frequent wide melodic leaps including octaves

Creates urgency and passion

Melody WL reference to ‘imitation in 2nd subject’ point

Piano quintet in e flat major - Robert Schumann

Uses imitation between piano and strings

V close stylistically

Points for rhythm, metre and tempo

• 4/4 throughout

• Use of allegro moderato creates forward momentum and allows for expressive shaping and rubato. Allows piano textural clarity and avoids overpowering strings. Her use of allegro moderato can be seen in the second subject where she uses a short poco rit.

• The 2nd subject contains syncopation which provides a distinctive rhythmic character (in comparison to 1st subject which has dotted rhythms). This syncopation is quite frequent, however never extreme enough to lose the strong sense of pulse and metre in the piece. 

Rhythm, metre and tempo WL reference to 4/4 point

Symphonie fantastique

Changes from simple quadruple to simple duple

Rhythm, metre and tempo WL reference to ‘allegro moderato’ point

Mendelssohn contrasts this in his piano trio in d minor, as his allegro movements prioritise clarity over tempo extremes. He is metrically cleaner.

Rhythm, metre and tempo WL reference to ‘syncopation’ point

R. Schumann’s piano quintet in e flat major has a similar use of syncopation in accompaniment, this could reflect the shared Romantic aesthetic of rhythmic experimentation.

Points for sonority

• use of pizzicato in cello in codetta of the recapitulation, which also briefly switches from bass to treble clef.

• Violin and cello use double-stopping at dramatic moments, seen in the ending of the piece as they hold long double stopped notes over the rippling piano.

• Cello provides pedal note in the codetta of the exposition against the cycle of fifths in the violin to support the bass of the harmony

Sonority WL reference to ‘double-stopping’ point

Mendelssohn also uses double stopping in his piano trio in D minor to make a more equal dialogue between the instruments.

Sonority WL reference to ‘pizz in cello’ point

Symphonie fantastique - Berlioz

Uses pizz in double bass during introduction to provide a soloistic chromatic counter-melody underneath the orchestra.

Sonority WL reference to ‘pedal note in cello’ point

Symphonie fantastique

Cello and double bass hold A flat pedal near end of introduction to provide strength to the harmony

Points for texture

• Overall homophonic, has uses of polyphonically animated homophony

• E.g. Right hand melody is accompanied by broken chords on the left hand in 1st subject of exposition, as the violin and cello both play counter-melodies. Increases textural density and interest.

• The development section contains passages of close imitation between the cello and violin, which creates a busy polyphonic texture along with the quaver figurations in the piano part.

Texture WL reference to ‘polyphonically animated homophony’ point

Mendelssohn uses similar melodic clarity in his Piano Trio in D Minor with animated accompaniment, however reminds more transparent while Clara’s texture is more dark and dense.

Texture WL reference to ‘imitation’ point

piano quintet e flat major Robert Schumann

Essay introduction main points

• Written in 1846

• Significant example of early Romantic chamber music

• Combines Classical formal structure but reflects Romantic ideals with increased expressive intensity.

• Influenced by Beethoven

• Trio shows her sophisticated handling of ____ ____ and _____ as well as her awareness of ensemble balance