Schumann

Question 1

Structure

Answer 1

• This trio conforms to the standard sonata form, a typical structure of Classical and Romantic first movements of symphonies, sonatas and chamber music such as string quartets and piano trios.
• WL eg. the formal structure of sonata form can be seen in pieces such as Beethoven’s Symphony No 5 1st movement.
• WL eg. This is contrasted with Berlioz’s looser approach to sonata form in Symphonie Fantastique 1st movement, which has an extensive slow introduction before the loose sonata form starts with a lack of the formal recapitulation section.
• Schumanns trio sticks mainly to the conventional rules and structure of sonata form
• The movement comprises an exposition, codetta, development, recapitulation and coda
• Exposition section introduces the principal lyrical 1st subject in G minor which is later adapted and manipulated in the dramatic development section.
• An assertive dotted pattern in the bridge passage modulates towards the contasting key of Bb major for the more lively 2nd subject.
• WL eg. The same structure, key relationship and contrasting thematic material can be seen in Mozart’s Symphony No. 40 1st movement.
• Schumann deviates slightly from the classical idea of the sonata form, eg when theme 1a is extended unexpectedly.
• The primary importance of Romantic writing was the free expression of the composer’s feelings, so this could be classed as a typical early-Romantic feature.
• Schumanns use of subject groups with contrasting themes, hints at the development of the sonata form yet to come in the later Romantic period, as seen in works by Mahler and Schubert.

Question 2

Tonality

Answer 2

• Tonality is generally dictated by sonata form and modulates to related keys prepared by perfect cadences
• Typical of the form, the piece begins in G minor, the tonic, introducing both themes 1a and b in this key
• Development section explores motifs from the subjects, as the music modulates through a series of keys such as C minor, Eb major, F minor and G minor, demonstrating an unsettled atmosphere.
• WL eg. Similarly, Beethoven’s Pathetique Sonata uses modulation in the development section to expand on pre-existing motifs in an interesting and dramatic way, although he uses distinctly unrelated keys, such as E minor.
• Dominant preparation by means of dominant pedal to aid the movement to G minor in preparation for recapitulation, back in the tonic.
• In the recapitulation, the 2nd subject is in the bright, tonic G major, creating an optimistic feeling
• WL eg. Beethoven does something similar in his Symphony No 5 in C minor 1st movement, where the 2nd subject returns in the tonic C major, to create a positive, triumphant mood.
• Coda returns to G minor
• Schumann experiments with some adventurous modulations, but her approach to tonality is fairly conservative compared to say Berlioz’s Symphonie Fantastique 1st Movement introduction, which begins in the tonic of C minor but passes through Db major, E major, Ab major to name just a few.

Question 3

Harmony

Answer 3

• Functional, balanced harmony with use of chords mainly in root and 1st inversion and regular perfect cadences
• WL eg Similar to Vivaldi’s Concerto in D minor, 2nd movement which has frequent perfect cadences as the subject moves through rapid passing modulations.
• Schumanns’s opening theme contains graceful, plaintive falling fifth followed by a rising one in the violin
• Introduction of theme 1b consists of dotted rhythms and homorhythm, which greatly contrasts with the lyrical melody of theme 1a, leading to the transitional material that leads to the 2nd subject.
• WL eg. A parallel to this is seen in Robert Schumanns Piano Trio Op. 63 where a dramatic almost heroic theme featuring dotted rhythms replaces the initial lyrical one.
• Clara Schumann uses various chromatic chords at moments of suspense, such as the French augmented 6th chord, creating added drama in the opening 1st subject.
• She also uses a diminished 7th chord, neapolitan 6th chord and a flattened supertonic chord, which was interesting to see this used in Baroque music by Vivaldi in Concerto in D minor, 3rd movement at a tense moment of chromaticism.
• Dissonance, suspensions, appoggiaturas, dissonant extensions e.g. dominant minor 9th
• This trio has a dominant pedal at the end of the exposition and development section to anticipate a transition.
• This piece is typical of early Romantic writing with much of the phrasing being balanced and periodic
• But the sense of balance changes in the transitional sections, where the phrase is extended. This happens more often as the music modulates in the development section and strong cadences are found less.
• WL eg. In comparasion, Mozart’s Piano Sonata No 7 in C, consists of 8 bar phrases, very typical of the Classical period, a time rooted in the idea of rigid structre and balance.
• In Schumanns trio later in the piece, the phrases shorten with fragments of the melodic material used from the exposition becoming closer together, known as stretto, raising the tension.
• WL eg. This can also be seen in Bach’s Brandenburg Concerto, which is very fugue-like in its writing.
• As an early Romantic work, the principal melodic material is predominantly diatonic, but Schumann uses chromatic harmony mainly in the transitional sections to cause modulation.

Question 4

Context

Answer 4

• Clara Schumann was a prolific German Romantic composer, pianist and teacher.
• Known as ‘Queen of the Piano’, she toured Europe as a child prodigy.
• She married Robert Schumann who had been her father’s pupil. She was the main breadwinner, they had 8 children and her husband suffered with mental illness.
• This Piano Trio, written in 1846 during the early Romantic period, is one of her most celebrated works.
• The Piano Trio as a genre had been established by earlier Classical composers such as Mozart and Haydn. It was one of the most important forms of chamber music from the 18th-19th century.
• This piece maybe initially intended to be played by amateurs in salons, then later in concert halls.
• Roles of each instrument are mostly balanced with the melodic material shared between the violin, cello and piano

Question 5

Conclusion

Answer 5

Clara Schumann’s Piano Trio Op.17 combines a traditional approach to structure and tonality, as dictated by sonata form, supported by a strong functional harmony, yet also shows Romantic characteristics with dramatically contrasting melodic ideas, subject groups and daring keys.

Her Piano Trio exemplifies the transition from the conservative Classical style to the exuberant passionate outbursts found in works of later Romantic composers.