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clara schumann- piano trio in g minor - Coggle Diagram
clara schumann- piano trio in g minor
wider listening
Haydn Piano Trio No.39 in G (1795)
cello largely doubles LH piano; violin doubles or complements RH piano- simple instrumentation, could basically be reduced to a piano sonata
Mozart Piano Trio No.5 in C major (1788)
in the opening, the cello and violin play similar complementary parts- e.g. n thirds or sixths- they do not have the independence that we hear in Clara Schumann's work.
some examples of imitations/ antiphony
Beethoven Symphony No. 5: I
also modulates to tonic major (unrelated key) in the recapitulation- c minor (first subject) to c major (second subject) to c minor (coda)
modulates to e flat major from c minor
vocab
antiphony
- responsive alternation between two groups.
dialogue
- when two or more parts have a musical ‘conversation’; a general term for multiple parts interacting; e.g. imitation, sharing melodic material, etc.
pedal note
- a repeated/sustained note: tonic or dominant. A pedal note continues whilst the harmony changes. It is usually at the bottom of the texture.
discursive music
- a description given to chamber music in which ideas are passed around the ensemble, as if in conversation/dialogue.
polyphonically-animated homophony
-meaning that the overall texture is homophonic but the parts are not clearly defined. In other words there is always a melody but it is not played by just one instrument or part – the melody is passed around different instruments in a polyphonic way.
texture
As chamber music, this piece is an example of discursive music; as such there are frequent changes in texture. The melody is shared between parts and there is dialogue between the instruments: in the first subject, for example, the melody is passed from the violin to the piano (b. 9) at which point there are accompanying countermelodies in the string parts. Whilst the overall texture is homophonic, these countermelodies animate the texture, making it somewhat polyphonic/the texture could be described as polyphonically-animated homophony.
structure
exposition
first subject- g minor (b.1-21)
bridge- (b.30-45)
second subject- b flat major (b.45-85)
codetta- transitioning back to g minor (b.85-90)
development
c minor (b.92-94)
e flat major (b.107)
f minor (b.111)
c minor (b.127)
g minor (b.150 with dominant pedal from b.155)
recapitulation
first subject- g minor (b.165-185)
bridge- (b.186-210)
second subject- g major (b.210-249)
coda- g minor (b.250-288)
melody
opens with ascending and descending perfect 5th- disjunct
(AO4- plaintive character)
AO4 won't necessarily be to create a certain atmospheric effect, rather to create melodic character, balance, contrast, etc.
then rises and falls by step- conjunct
(outlines minor 6th- plaintive, sorrowful character)
ascending sequence
(more lively and animated- creates contrast)
large octave leap
(animated character)
descends by step- conjunct
ends with ascending perfect 5th
(allowing for imperfect cadence, leads into second phrase)
some dotted rhythms
(animated character)
periodic phrasing- two 4-bar phrases.
(relatively early romantic music – sharing features with Classical era (similar to Brahms, Schumann; unlike
later Romantic composers e.g. Chopin))
diatonic
(AO4 as above)
some non-harmony notes- passing notes, anticipations
(harmonic interest)
harmony
largely diatonic and functional
cadences, including traditional progressions (Ic-V-I)
chords in root position and first inversion
secondary dominants- e.g. c major chord in b.40
circle of fifths
some chromatic and dissonant harmony
diminished 7ths, often used as a substitute for the dominant
augmented 6ths- used to approach Ic-V-I cadences (b.11-12)
some romantic harmony
extensions (e.g. minor 9ths)
chromatic bass lines