C. Schumann Piano Trio in G minor

Points for structure

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

Exposition

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

• 1st subject features an 8-bar melody based on 4-bar phrases, and begins with a descending fifth.

• 2nd subject contrasts this with having two main 2-bar ideas (phrases 2(a) and 2(b))

Development

• the use of chromaticism in the development suits the Sonata structure, as it makes a journey of returning back to the tonal centre.

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 reference to ‘chromaticism in the development’ point

• Berlioz’s ‘Symphonie Fantastique’ also uses chromaticism within its developments

• Which confirms the idea of a journey with its modifies sonata form

• This is however based off the different emotion and narrative in the piece than structure. 

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

R. Schumann’s piano trio in D minor uses a similar minor key tonality, as well as having frequent modulations to the relative major throughout his piece.

Points for harmony

• is predominantly tonal and diatonic, and uses functional progressions

• More complex chords are used using chromatic harmony, for example in phrase 2B in the second subject is 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 reference to ‘complex chords using chromatic harmony’ point

This is similarly seen in Chopin’s Ballade in G minor, as he has extensive chromatic harmony without loss of tonal centre, and uses diminished seventh chords to increase tension.

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 is an 8-bar theme, made up of two balanced 4-bar sections - antecedent to consequent (Classical period phrase symmetry).

→ bars 1-4 features a plaintive downward fifth and a tied rhythm on the way to its concluding imperfect cadence.

• The second subject is made up two 2-bar ideas

→ including a descending stepwise phrase with an appoggiatura

Melody WL reference to ‘antecedent to consequent phrasing’ point

This phrasing can also be seen in Mozart’s piano sonatas, as well as in Brahms piano trio in B major, where he often varies the consequent phrase rather than simply repeat it.

Melody WL reference to ‘second subject appoggiatura’ point

Mendelssohn also uses appoggiaturas to create expressive tension within the ensemble texture in his Piano Trio in D minor.

Points for rhythm, metre and tempo

• 4/4

• 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 theme 2(a) is syncopated which provides a distinctive rhythmic character (in comparison to theme 1(c) 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 ‘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 trio in D minor has a similar use of syncopation which destabilises his metre, this could reflect the shared Romantic aesthetic of rhythmic unease.

Points for sonority

Piano

• Melodic and accompanies the material, and important melodic material is often presented in a single octave.

Violin + cello

• Use double-stopping  both at loud and dramatic moments (such as in the coda in the recapulation) and to fill the texture during quieter passages (such as at the beginning of the codetta in the exposition).

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.

Points for texture

• Overall homophonic, has uses of polyphonically animated homophony

• From bar 9, the right hand melody is accompanied by broken chords on the left hand, and the violin and cello both play counter-melodies. This texture is often described as polyphonically animated homophony, and is a romantic expansion of homophony. It maintains melodic clarity while also increasing 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

Beethoven also uses close imitation in his piano trio in C minor to heighten drama within sonata form, and Clara adopts this classical technique but softens it with romantic expressivity.

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