Piano Trio in G minor, Op 17, Movement 1

Dynamics

• Dynamics range from p to ff - extremes are juxtaposed
  • 1 mf marking and no mp

• Numerous crescendos and diminuendos
  • Use of sf and pf

Rhythm / Tempo / Meter

• All of the themes have distinct rhythmic characteristics
  • First subject: features simple rhythms, dotted rhythms, and off-beat chords
  • Linking/Bridge Materiel: includes dotted rhythms, quaver “sighing” motifs starting on the offbeat, and frequent anacruses
  • Second subject: built on syncopated minims and a lively “chattering” quaver figure

• Clear sense of pulse and meter throughout

• Time signature: 4/4

• Syncopation: present throughout but never strong enough to obscure the pulse

• Generally speaking not too rhythmically adventurous

• Tempo: Allegro moderato; largely unchanged throughout, except for a short poco rit. in the second subject

Texture

• Melody dominated homophony but sometimes polyphonically animated homophony
  • There is however true polyphony in the development section
  • Homophonic chordal
  • Piano accompaniments - rocking quavers, block chords on and off beat chords, arpeggios / broken chords
  • Octaves, 6ths, 3rds

• Ideas are passed around discursively
  • There is a clear dialogue in the development section between the violin and cello, where the material from the first four bars is altered through converging motion(from a 5th to a 3rd)

• Main melodic interest alternates between violin and right hand piano

• Imitation and countermelodies

• Pedal notes

Structure

• Sonata form

• Exposition (Repeated)
  • No introduction - (”Reflects her tormented state of mind”)
  • First subject(violin taken up by piano)
  • Bridge passage / link material
  • Second subject
  • Codetta

• Development Section

• Recapitulation

• Coda

Melody

• Balanced phrasing with Antecedent and consequent

• Conjunct

• Leaps of a 5th / octave

• Sequences

• Repeated notes

• Contrasting melodies
  • Legato

• Appoggiatura

• Diatonic

• Some chromatic melodies

Instrumentation (Sonority?)

• Piano trio / chamber music

• Equal roles

• Conventional use of instruments / not virtuosic - written for amateurs

• Double stopping and triple stopping(the last closing note of the movement)

• Instrument ranges
  • Violin plays mainly two octaves
  • Cello uses both low and high range
  • Piano mainly uses middle range

  Bigger range than classical yet not as big as the 20th century and late romantic.

• Pedal markings are rarely indicated - (”Associated with romantic music”)

• Where pedal is indicated a blurred effect is created

Tonality

Exposition:

• 1st subject: G minor (tonic)

• Bridge/Linking section?

• 2nd subject: B♭ major (relative major)

• Codetta : reinforces B♭ major

Development:

• Modulates through:
  • C minor, E♭ major ,F minor G minor

• Dominant preparation for recapitulation

Recapitulation:

• 1st subject: G minor (tonic)

• 2nd subject: G major (tonic major, parallel major)

• Brief modulations: B major occurs briefly

Coda:

• Returns to G minor

• Pedal notes emphasize tonic/dominant

• Modulations are prepared by perfect cadences

Harmony

• Functional harmony with use of chords I and V and regular cadences

• Chords mainly in root and 1st inversion

• Cadences such as Perfect, Imperfect, Plagal, Ic-V-I ( at the very end of the Coda in the recapitulation section)

• Some Chromatic Harmony

• Chords such as:
  • Neapolitan 6th - (”feature of classical”)
  • Diminished 7th
  • (French) Augmented 6th
  • Secondary dominants
  • Dominant minor 9th

• Dissonance, suspensions, appoggiaturas, dissonant extensions eg. dominant minor

• Cycle of 5ths

• Tonic pedal

• Dominant pedal