Piano Trio in G Minor, Op. 15 (Violin Part)
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Emotional confusion reigns supreme in the Allegro non piu moderato, ma agitato e con fuoco , a Beethoven moment of intense, almost vicious, inwardness, in which the evolving melody seems to dead-end and has recourse to fugal treatment.
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The music disintegrates into a series of effects: tremolos, sighs, and lamentations. The Presto — Allegro last movement has no fewer contradictions, moving attacca from the third movement into a manic moto-perpetuo, rife with polka rhythm. Smetana dedicated the g minor Trio —the same tragic key as the Mozart Symphony No. The chromatic theme evolves through the interval of a fifth, often employed in Baroque music as a tragic affect. The cello proffers a theme of consolation, which the violin takes up, but whose rendering is all the more nostalgic and tearful.
The middle movement has something of Schumann in its quirky energy, perhaps a recollection of the daughter Bedriska at play, before the onset of scarlet fever that robbed the earth of her magical presence. Brahms and E. B8 H5. Cannabich and P. Ballets Excerpts, Arranged Scores and parts. Piano quartets, Arranged Scores and parts.
Call : M3. C52; Piano music. D75 op. Dresel and D.
D op. D; op. D98 op. F26; op. Opus For piano, violin, viola and cello. F3 op. Herlin, et al. Quatuor pour piano, violon, alto et violoncelle en sol mineur, op. E15 v. Ginastera Quintetto, per pianoforte e quartetto d'archi.
Grieg and K. R; ; v. H T75 Haydn and F. H43 H4. H8; op. I8 L4 II : for violin, cello, and piano. K57; no.
M; no. Mendelssohn-Bartholdy and S. Mozart Trio no. M84 K.
Smetana, Suk & Novák: Piano Trios
Mozart, C. Herrmann, et al.
M84 H4 Mozart and F. M69 R6. Ornstein, M. The disturbances of found Smetana eager to join those pressing for reform. He opened a musical school and was employed now as teacher and pianist to the former Emperor, Ferdinand I, who had moved to Prague after his abdication. The years after his marriage brought various difficulties and disappointments, with the death of three of his four children and the illness of his wife.
Finally, in , he sought a solution for money troubles by moving to Gothenburg, where he opened a music school and became closely involved with the musical life of the city.
Trio for piano and strings in G minor, Op. 15
Five years later he returned to Prague, while retaining some association with Sweden. It was after his return to Prague that Smetana set about composing music for the theatre, writing his first opera and eventually assuming the position of principal conductor at the Czech Provisional Theatre in , the year of his second opera, The Bartered Bride. The years that followed were not without difficulties, as opposition to his tenure at the Theatre grew.
In he was forced, through increasing deafness, to take leave of absence. These final years, until his death in an asylum in , were darkened by the progress of illness, occasioned, it may be assumed, by the effects of youthful excess. Smetana's Piano Trio in G minor, Opus 15, was written in in memory of his first child, Bediska, who had died in September that year, at the age of four, a year after the death of her younger sister.
A fourth daughter, born in , died early in the following year, but the third of his children, Zofie, lived to provide her father with shelter in his later years. His wife was, in , found to have tuberculosis and died in Smetana remarried and fathered two more daughters, but was in later life estranged from his second wife. The Piano Trio was written at a time of some difficulty. The Trio opens with the violin a1one, playing on the G string the principa1 theme, in which the others then join.
The descending initia1 contour of the melody reflects the tragic mood, which is lightened when it reaches the B flat major second subject, introduced by the cello.
Smetana, Suk & Novák: Piano Trios – Smetana Trio – trasneuvaruff.gq
This material is to return slightly varied in recapitulation after a development that finds room for a contrapuntal treatment of the main theme. The stark atmosphere of tragedy is reinforced in the final coda. The second movement reflects the sequences of the principal subject of the preceding movement in its first G minor theme. This materia1 returns in part only, framing two contrasting passages. The first of these, marked Andante, after the Allegro, ma non agitato of the opening section, is expressed in terms of tender delicacy.
The framing materia1 returns, modulating to G minor once more before the appearance of a second contrasting passage, marked Maestoso and moving from E flat major to C minor, with its solemn dotted chords, recalling an episode in Schnmann, a recurrent presence here. The last movement has its principal theme from Smetana's Piano Sonata in G minor of The rapid cross- rhythm of the subject is followed by a gently lyrical cello theme, taking its start from the opening of the principal theme, which now returns, replaced once more by the tender elegy of the cello.
This turns into a funeral march, Grave, quasi marcia, soon to be overtaken by the urgency of the principal subject, now in G major.