User:SHoltgrewe15/Piano Trio (Clara Schumann)

Written in 1846, the Piano Trio in G minor, opus 17 was the only piano trio written by Clara Schumann.

Historical Context
After moving to Dresden in 1845 - 1850 (they went back to Leipzig in June of 1850 not 1846) due to Robert Schumann's health, Clara's public career slowed, leaving more time for composing. The trio was completed during the summer of 1846 when they traveled to Norderney in attempts to improve Robert's health conditions. During this time, Clara suffered from a miscarriage and the death of her young son Emil in 1847. A year after the composition of her piano trio, Robert composed his Piano Trio No. 1, Op. 63, which contains many similarities. Clara's trio had great influences on Robert's trio and are frequently paired at concerts. Upon receiving news of the death of Fanny Hensel Mendelssohn in June of 1847, Clara dedicated her piano trio to Fanny, but unfortunately it was published without the dedication.

Movement 1: Allegro Moderato in G minor
The overall key of this movement is G Minor, with a lot modulation to closer and more distant keys. The structure of the movement is Sonata form (made up of the Exposition, Development, and Recapitulation), with a Codetta and then a Coda. It is in Allegro moderato. It relies on energy and chromaticism to attract the audience. Throughout the movement, each instrument has its own soloist moment on top of an exceptional balance between three instruments. This balance makes it clear that Clara had a great understanding of writing for these three instruments although she was a pianist.

Movement 2: Scherzo and Trio
The second movement consists of three sections: Scherzo, Trio, and Scherzo. The Scherzo is in B-flat major, the same key as the relative major of the first movement, and it is instructed to be played in the Tempo di minuetto which means slow, graceful and playful. The melody is often played by the violin, while the cello accompanies the melody through pizzicato as the piano plays chords. These contrasts between the cello and piano successfully create the mood of the "Tempo di minuetto". After Scherzo, a contrasting section, Trio, appears. It is in E-flat major and is more lyrical than Scherzo. However, the overall mood of the piece is still playful. At last, it goes back to Scherzo to finish the movement.

Movement 3: Andante in G major
The third movement, Andante, is in G major, 6/8 time, and begins with eight measures of a piano solo. Eight measures after that, the violin takes over the theme, followed by the cello. The theme is followed by a B section which contrasts the A theme by the use of dotted rhythms in the violin and cello and moves to the minor 5th, E minor. She transitions back to the A section by returning the A theme in the original key of G major. It ends with a coda, combining both ideas from each theme. The piece could be described as "bittersweet".

Movement 4: Allegretto in G minor

The last movement, Allegretto, is in sonata form. The opening is similar to the opening theme of the first movement. This movement incorporates many ideas from the preceding movements to tie everything together including rhythms and themes. The A section begins in G minor then modulates to D major when we arrive at the B section. We encounter the C theme which presents a new fugal idea in the key of A minor beginning with the piano, moving to violin and then cello. Here, we encounter the returns of the B and A sections in the development, combining all three themes of all the sections. We then Return to G minor and the piece finishes with the return of the A theme.