Brahms’ Piano Quintet in F minor, Op. 34; movement III (Scherzo Allegro)

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Brahms' Piano Quintet in F minor, Op. 34 movement III (Scherzo Allegro)
Composed by Romanticist Johannes Brahms in 1865 for piano quintet (originally written for string quintet in 1862, rearranged to sonata for two pianos
in 1864, settled on current version in 1865).
Brahms tended to prefer Classical formats e.g. chamber music demonstrated here, as well as Baroque and Classical music e.g. fugue style, also
demonstrated here.
Professional ability is required to play this piece it is not suited to aristocratic amateurs of the Classical period.
Instrumentation Piano quintets Texture ­ a wide variety used Tonality ­ wideranging. Typical of Rhythm and metre
increasingly popular in 19th century Romantic period
1. Technically demanding piano 1. Opening cello pedal accompanying 1. Tonic key of Cm 1.Duple time, varying
part with thick textures, 8ve music in vI and viola 2. Related keys used e.g. Gm between compound and
multinote chords 2. Free imitation between piano and at bar 57 simple, changing to
2. Exploits instruments' ranges strings at bar 5 3. Distant keys used e.g. E flat accommodate the different
e.g. piano: low bass tessitura 3. 3rd theme played in minor at Fugato ­ these melodies
bar 53 and high register usage homophony/homorhythm at bar 22 occur more often! B major 2.Syncopation used in VI and
bar 1745 when building to 4. Fugato bar 67100. Starts with briefly in Trio from bar 206 VII in bar 2, enter on weak
climax subject in viola accompanied by first 4. Alternation between I minor 6th quaver beat
3. Cello has repeated open string of 3 c/subjects in LH piano. Answer and I major was common in 3.Distinctive march rhythm
bottom C at beginning of starts in RH piano bar 71 Romantic age ­ I major esp. for 2nd theme from bar
Scherzo and Trio, and pizzicato 5. Above build to 5part c/point at bar found in 3rd main tune and 13 ­ semiquaver rest and
at beginning 92. Top line doubled in Vs. Trio staccato markings feature
4. Violin I pizzicato double 6. Heterophony from bar 57 to 67. VI 5. Pedals reinforce key e.g. I 4.Offbeat accents
stopping bar 1820, extreme and piano have decoration bar 5765, pedal at beginning of Scherzo emphasised by sfz markings
range bar 64, 65, 154 VII and piano have decoration bar and end of Trio. Long V in 3rd theme bar 268
6567 pedal bar 224233 5.Augmentation used at
7. Main theme of trio uses beginning of 3rd theme (bar
meldomhom (Keys established by cadences, 2225) as semiquavers of
however perfect ones are rare) 2nd theme replaced by
dotted crotchets
6.Crossrhythms bar 233

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Structure and Melody large scale ternary form of scherzo + trio + scherzo.…read more

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Scherzo: bar 11931 1. Introduction of F sharp at bar 5 ­ clashes with F natural
A: bar 112 ­ 1 theme: rising syncopated melody in Cm, compound time, pp, bar
in VI and II in bar 7
9 c/point 2. German augmented 6th occur frequently e.g. bar 5 (A
B: bar 1321 ­ 2nd theme: staccato melody in Cm, simple time, pp, revolves flatCE flatF sharp), bar 39 (same)
around note G 3. Half diminished chords e.g.…read more

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This is really useful thanks. Do you have any more of the A2 set works for 2013?

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