Schumann 1846 Flashcards
Context
Concert pianist, composer during Romantic period
Piano trio, most important form of chamber music
Chamber music played in salons and concerts, Beethoven arranged symphonies for a piano trio, less virtuosic
Melody
Sonata form, 2 subjects
All about melodic contrast, periodic phrasing
Chromaticism
Development based around 1st sub
All about melodic contrast, periodic phrasing
1A, down 5th, tied rhythm to imperfect cadence
1B, animated rhythm, rising sequence, up octave, contrast within subject which leads onto next phrase (Before, Septet Beethoven, periodic phrasing)
Chromaticism
2A, syncopated, disjunct, conjunct appoggiatura
2B, chattering quavers against melodic dim 7 in vln
(Before, Schubert, Die Stadt, arpeggiated dim 7) characteristic of Romantic music, very expressive
Development around 1st sub
Based around perfect 5 motif from 1A, contracted, expanded to fit harmony
Characteristic of Romantic music to develop existing subjects by exploring different keys
(Before, Beethoven Archduke Trio, development based on motif from 1st subject)
Texture
In discursive dorm, ideas passed around, texture changes constantly
Sonata form all about melodic contrast, created by changing texture
Predominantly mel dom hom
Polyphonically animated homophony
Polyphony
Pedal
Sonata form is all about melodic contrast, created by changing the texture
Characteristic of chamber music
Before, Beethoven, Septet in Eb, 1st mv
Predominantly melody dominated homophony
Exposition, 1st subject, vln accompanied by piano, based around melodic contrast, highlighted by texture
(After, Dvorak, American String Quartet)
Polyphonically animated homophony
Polyphonically animated homophony
Idea repeated, fragmented countermelody, used to develop melody without losing emphasis on the melody, augument texture
Close imitation
Between vc, vln, quaver figuration in piano, develop melodic fragments by passing it around different parts
(After, Brahms piano trio C min, 1st mv)
Pedal textures
Dominant pedal in vc, reinforce tonality, drive towards cadence point for resolution
Harmony
Functional harmony shaped by perfect cadences
Romantic expressive chords
Functional harmony, shaped by perfect cadences
Predominantly tonal, diatonic (Before, Beethoven, Archduke trio)
Major, minor chords in root of 1st inversion
Ends with a perfect cadence, charcteristc of Romantic music, gives structure to subjects
Romantic chords
Chromatic, dim 7th
(Before, Schubert Die Stadt, arpeggiated dim 7)
French augumented 6th, used to approach V, Ic
Dissonant extensions, dominant minor 9th
(Just before, Brahms, piano quintet F min, chromatic chords)
Be more expressive, characteristic Romantic feature
Tonality
Functional, sonata form focuses on melodic and key contrast
Follows the rules of sonata form
Pedals
Exposition tonality
G min to Bb maj, v characteristic of sonata form pieces
After, Brahms, 1st mv piano trio C min
Development tonality
Very modulatory section, more foreign keys, Eb, F, C min, v characteristic of sonata form pieces
(Before, Schubert string quartet C major, mod to E maj, unexpected)
Recapitulation tonality
Return to G min, 2nd subject to G maj, key contrast at end, develop exposition material
G min in closing coda, sense of returning home
(After, Dvorak, American string quartet)
Tonic, dominant pedal
Strengthen sense of tonality
Rhythm, tempo and metre
4/4, no change of metre
Allegro moderato
Rhythmically distinct themes
4/4 with no change in metre
Feels like 2/2 unless harmonic rhythm is fast
(Before, Archduke trio Beethoven, 4/4, does not change throughout), common for 1st mv to stay in same metre
Allegro moderato
Rare poco rit, not a common feature in chamber music (After, Dvorak, Dumky trio, changes of tempo throughout)
Rhythmically distinct themes
Running quavers throughout the piece, a strong sense of movement and drive
1A, Lyrical, tied over juxtaposed by ascending dotted rhythms with expressive leap down melodic contrast created by rhythmic contrast
Syncopations, do not obscure meter, drive music forward (Before, Mendelssohn, D min piano trio,)
Structure
Sonata form dictates tonality and melody through structure
Exposition
Development
Recapitulation
Sonata form dictates tonality and melody through structure
Used often in the Classical era, still used in Romantic music (Before, Septet, Beethoven, sonata form after slow intro)
Exposition
2 contrasting subjects, 1A, 1B, 1C, 1D, 2A, 2B
In G min and Bb maj, characteristic of sonata form (After, Brahms C min 1st mv, 2 contrasting ideas)
Bridge,
Codetta
Development
Based on 1A perfect 5th, expanded, contracted to fit harmony
Moves through foreign keys such as Eb, F, C min, develop existing material, v characteristic
(Before, Beethoven Archduke trio, development based on melodic material from 1st subject)
Recapitulation
Repeat of subjects from exposition but in tonic major key for key contrast
Characteristic of sonata form (Mozart G min no 40, recapitulation shorter)
Sonority
Piano trio Role of piano String techniques Role of violin Role of cello
Piano trio
Normally piano dominates with a v virtuosic part (Beethoven piano trios, very virtuosic)
Here, all instruments have equal parts, very discursive, to be played by capable amateurs
Very intimate writing, to be played in salons, characteristic of chamber music
Role of piano
Provides melodic, accompaniment
Middle range is favored to avoid masking the low cellos and the high violins, occasionally in lower range
String techniques
Double stopping to fill texture during quieter moments, loud dramatic moments
(Before, Mendelssohn, Piano trio, emphatic statement at end)
Role of violin
Provides melodic, accompaniment
(After, Dvorak’s American string quartet
Occasionally uses triple stopping, thicken texture at dramatic moments, quiet moments
Role of cello
Provides bass harmony support, including pedal points (Before, Septet, Beethoven)
Resonant low range outlines bass
Tenor like mid range used to outline inner parts
High material used to highlight prominent melodic lines, notated in treble clef but written an octave higher than it sounds
