Schumann 1846

Question 1

Context

Answer 1

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

Question 2

Melody

Answer 2

Sonata form, 2 subjects
All about melodic contrast, periodic phrasing
Chromaticism
Development based around 1st sub

Question 3

All about melodic contrast, periodic phrasing

Answer 3

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)

Question 4

Chromaticism

Answer 4

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

Question 5

Development around 1st sub

Answer 5

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)

Question 6

Texture

Answer 6

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

Question 7

Sonata form is all about melodic contrast, created by changing the texture

Answer 7

Characteristic of chamber music

Before, Beethoven, Septet in Eb, 1st mv

Question 8

Predominantly melody dominated homophony

Answer 8

Exposition, 1st subject, vln accompanied by piano, based around melodic contrast, highlighted by texture
(After, Dvorak, American String Quartet)

Question 9

Polyphonically animated homophony

Answer 9

Polyphonically animated homophony

Idea repeated, fragmented countermelody, used to develop melody without losing emphasis on the melody, augument texture

Question 10

Close imitation

Answer 10

Between vc, vln, quaver figuration in piano, develop melodic fragments by passing it around different parts
(After, Brahms piano trio C min, 1st mv)

Question 11

Pedal textures

Answer 11

Dominant pedal in vc, reinforce tonality, drive towards cadence point for resolution

Question 12

Harmony

Answer 12

Functional harmony shaped by perfect cadences

Romantic expressive chords

Question 13

Functional harmony, shaped by perfect cadences

Answer 13

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

Question 14

Romantic chords

Answer 14

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

Question 15

Tonality

Answer 15

Functional, sonata form focuses on melodic and key contrast
Follows the rules of sonata form
Pedals

Question 16

Exposition tonality

Answer 16

G min to Bb maj, v characteristic of sonata form pieces

After, Brahms, 1st mv piano trio C min

Question 17

Development tonality

Answer 17

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)

Question 18

Recapitulation tonality

Answer 18

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)

Question 19

Tonic, dominant pedal

Answer 19

Strengthen sense of tonality

Question 20

Rhythm, tempo and metre

Answer 20

4/4, no change of metre
Allegro moderato
Rhythmically distinct themes

Question 21

4/4 with no change in metre

Answer 21

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

Question 22

Allegro moderato

Answer 22

Rare poco rit, not a common feature in chamber music (After, Dvorak, Dumky trio, changes of tempo throughout)

Question 23

Rhythmically distinct themes

Answer 23

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,)

Question 24

Structure

Answer 24

Sonata form dictates tonality and melody through structure
Exposition
Development
Recapitulation

Question 25

Sonata form dictates tonality and melody through structure

Answer 25

Used often in the Classical era, still used in Romantic music (Before, Septet, Beethoven, sonata form after slow intro)

Question 26

Exposition

Answer 26

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

Question 27

Development

Answer 27

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)

Question 28

Recapitulation

Answer 28

Repeat of subjects from exposition but in tonic major key for key contrast
Characteristic of sonata form (Mozart G min no 40, recapitulation shorter)

Question 29

Sonority

Answer 29

Piano trio
Role of piano
String techniques
Role of violin
Role of cello

Question 30

Piano trio

Answer 30

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

Question 31

Role of piano

Answer 31

Provides melodic, accompaniment

Middle range is favored to avoid masking the low cellos and the high violins, occasionally in lower range

Question 32

String techniques

Answer 32

Double stopping to fill texture during quieter moments, loud dramatic moments
(Before, Mendelssohn, Piano trio, emphatic statement at end)

Question 33

Role of violin

Answer 33

Provides melodic, accompaniment
(After, Dvorak’s American string quartet
Occasionally uses triple stopping, thicken texture at dramatic moments, quiet moments

Question 34

Role of cello

Answer 34

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