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Piano Trio for piano, violin and cello

Klassische Musik/Zeitgenössisch • 1991
 
     
 

Piano Trio for piano, violin and cello


12.00 USD

Verkäufer Colin Bayliss
ZIP, 958.6 Kb ID: SM-000205555 Datum des Uploads: 07 Mai 2014
Instrumentierung
Klavier, Geige, Cello
Partitur für
Trio
Art der Partitur
Partitur, Stimmen
Satz, Nr.
1 bis 3 von 3
Verleger
Colin Bayliss
Schwierigkeitsgrad
Fortgeschritten
Länge
26'0
Piano Trio (B44) was written in the spring of 1991 for David Johnson and the
trio which he was forming in Cologne.
The work is in three movements:-1. Structures The three instruments build differing structural patterns
based on a 12-note row. The violin and 'cello often complement each other, but
the piano rarely joins them and tries to pull the music towards a diatonic tonal
language, eventually succeeding to end in G major. The movement is in arch
form, the second half being based on the retrogrades of the note row.
2. Textures Most forms of sound textures are used, including col legno and
sul ponticello for the strings, while the piano occasionally employs soft-headed
timpani sticks both on the keyboard and the interior of the instrument. Again the
movement is in arch form, with a central section incorporating a miniature
scherzo, with a trio section parodying the "palm court" trio style with a tune of
sickly sentimentality. [ This movement may be played separately under the title
“Einer Kleiner Alptraum - A Little Night... mare”]
3. Metamorphoses The notes which will eventually become a Scottish folk
tune are hidden either in the repeated notes or in the left hand of the piano,
either singly or in harmony. After a neo- classical exposition, using a serial melody,
progress is quickly halted by the use of some of the notes of the folk tune being
arranged into the theme of Weber's Turandot which was used by Hindemith in his
Symphonic Metamorphoses . This pulls the music into a slightly more tonal frame work
which becomes more pronounced after a reference to the theme of the slow
movement of the Eroica symphony used in Richard Strauss' Metamorphosen. From
then onwards, tonality, or rather modality, is established and the folk tune style is
maintained with simplicity to the end, except for a miniscule coda reminiscent of
the opening of the movement.

The sound sample is the 2nd movement
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