Piano Trio No. 3

Piano Trio No. 3 may refer to:

Piano Trios, Op. 1 (Beethoven)

Ludwig van Beethoven's Opus 1 is a set of three piano trios (written for piano, violin, and violoncello), first performed in 1793 in the house of Prince Lichnowsky, to whom they are dedicated. The trios were published in 1795.

Despite the Op. 1 designation these were not Beethoven's first published compositions; this distinction belongs to his Dressler Variations for keyboard (WoO 63).

Op. 1 No. 1 - Piano Trio No. 1 in E-flat major

Op. 1 No. 2 - Piano Trio No. 2 in G major

Op. 1 No. 3 - Piano Trio No. 3 in C minor

Piano Trio No. 3 (Brahms)

The Piano Trio in C minor, Op. 101, by Johannes Brahms is scored for piano, violin and cello, and was written in the summer of 1886 while Brahms was on vacation in Hofstetten, Switzerland. It was premiered on 20 December of that year by Brahms, violinist Jenő Hubay, and cellist David Popper.

The trio is in four movements:

First movement

C minor, sonata form

Second movement

C minor, ternary form. This movement takes the form of an intermezzo, in place of the traditional scherzo and trio.

Third movement

C major, ternary form. This movement involves the use of alternating time signatures - 3/4 and 2/4, as well as 9/8 and 6/8.

Fourth movement

C minor, sonata form. Ends in C major.

References

External links

Piano trio

A piano trio is a group of piano and two other instruments, usually a violin and a cello, or a piece of music written for such a group. It is one of the most common forms found in classical chamber music. The term can also refer to a group of musicians who regularly play this repertoire together; for a number of well-known piano trios, see below.

Form

Works titled "Piano Trio" tend to be in the same overall shape as a sonata. Initially this was in the three movement form, though some of Haydn's have two movements. Mozart, in five late works, is generally credited with transforming the accompanied keyboard sonata, in which the essentially optional cello doubles the bass of the keyboard left hand, into the balanced trio which has since been a central form of chamber music. With the early 19th century, particularly Beethoven, this genre was felt to be more appropriate to cast in the four movement form. Piano trios that are set in the Sonata tradition share the general concerns of such works for their era, and often are reflective directly of symphonic practice with individual movements laid out according to the composer's understanding of the sonata form.

Piano Trio (Ravel)

Maurice Ravel's Trio for piano, violin and cello is a chamber work composed in 1914. Dedicated to Ravel's counterpoint teacher André Gedalge, the trio was first performed in Paris in January 1915, by Alfredo Casella (piano), Gabriel Willaume (violin), and Louis Feuillard (cello). A typical performance of the work lasts about 30 minutes.

Composition

Ravel had been planning to write a trio for at least six years before beginning work in earnest in March 1914. At the outset, Ravel remarked to his pupil Maurice Delage, "I’ve written my trio. Now all I need are the themes." During the summer of 1914, Ravel did his compositional work in the French Basque commune of Saint-Jean-de-Luz. Ravel was born across the bay in the Basque town of Ciboure; his mother was Basque, and he felt a deep identification with his Basque heritage. During the Trio's composition, Ravel was also working on a piano concerto based on Basque themes entitled Zazpiak Bat (Basque for "The Seven are One"). Although eventually abandoned, this project left its mark on the Trio, particularly in the opening movement, which Ravel later noted was "Basque in colouring."

Piano Trio (Ives)

The Trio for Violin, Cello, and Piano is a work by the American composer Charles Ives. According to Charles Ives’ wife, the three movements of the piano trio are a reflection of Ives’ college days at Yale. He started writing the piece in 1904, 6 years after graduation, and completed it in 1911. It was written c. 1909-10 and significantly revised in 1914-15. The piano trio consists of three movements:

The first movement is the same 27 measures repeated three times, though the violin is silent for the first, the cello for the second, and all three instruments join for the third. Though the separate duets seem full enough on their own, yet all together sound amazingly and uncharacteristically consonant.

The second movement, TSIAJ, employs polytonality, timbral contrast, and quotation for a downright humorous effect. Fragments of American folk songs are intertwined throughout the movement, although often grotesquely altered with respect to rhythm, pitch, and harmonic connotation. Folk songs appearing in the scherzo include "My Old Kentucky Home," "Sailor's Hornpipe," "The Campbells Are Coming," "Long, Long Ago," "Hold the Fort," and "There Is a Fountain Filled with Blood," among many others. Drawing from his college days at Yale University, Ives also quotes a number of fraternity songs including the Delta Kappa Epsilon tune "A band of brothers in DKE," which appears prominently near the beginning of the movement. It is notable that one of his sketches for the movement includes the subtitle "Medley on the Campus Fence," referring to the songs popular among Yale students during his college years. And although the composer himself acknowledged that the entire movement was a "joke," it well characterizes the unique and novel musical world that only Ives had discovered.