Brahms - Piano Quintet In F minor
- Created by: stephen_lunn1
- Created on: 04-05-16 10:35
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- Brahms - Piano Quintet
- Melody
- Bars 22-24 is an augmentation of the semiquaver figure in bar 14, but now in the major
- In bars 88-100 all of the melodies are fragmented into tiny cells in a complex five part contrapuntal texture
- From bar 92 the fragments from the viola are heard in stretto
- Apart from the bold rising theme at the start the melodic material is based mainly on motifs of a narrow range which are manipulated in many different ways
- From bar 92 the viola is heard in a type of close imitation
- In section C of the scherzo there are varied repeats of A (bars 38-56) and B (bars 57-67) modulating rapidly in the process
- Structure and Tonality
- Section A and B of the Scherzo is in C minor
- Section C of the Scherzo is in C major
- Scherzo followed by a Trio
- Added Fugato section
- Overall structure is Ternary form
- Section A and B of the Scherzo is in C minor
- Harmony
- Section B resolves obsessively around the dominant
- The trio leads to a plagal cadence in C in bars 253-254
- And a tonic pedal bars 254-261
- Tierce de picardie in C major at the end of the fugato section bar 193
- The harmony in section B of the Trio is chromatic but anchored to C major by a dominant pedal on G
- In the first phrase Brahms gradually builds up the notes of a augmented 6th chord that resolves to chord V in the second half of bar 6 over a continuing tonic pedal
- The root position triads in bars 18-21 are given a modal colour by the minor version of chord V bar 19 and the cadence in bar 21 features chord V without a 3rd
- Texture
- Counterpoint is evident in bar 9 where the theme played by the violin and viola is imitated by the piano
- Fugal texture in the fugato
- In bars 88-100 theres a complex five-part contrapuntal texture
- Texture varies throughout from the monophonic opening to the fugal texture starting in bar 67
- Rhythm
- Even though a Scherzo was a fast triple time movement Brahms uses both 6/8 and 2/4 metres
- Section A of the Scherzo is characterised by frequent syncopation
- Section C uses strong second beat accents.
- In section B of the trio triplets form cross rhythms with the quavers in the other parts
- Section B of the Scherzo is a jerky melody where staccato notes are separated by tiny rests
- Contextual
- Romantic composer
- Composed in 1865
- First written as a string quintet then for piano duet before becoming a piano quintet
- Melody
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