First 387 words of the document:
How was the piano integrated into chamber works of this period?
-The first statement of the melody is accompanied by a strong harmonic progression in the piano
(chords reiterated in quavers), and single notes on the third beat of each bar in the viola and violin.
-The remainder of the opening "A" section takes the form of a dialogue between the piano and the
viola, playing a different melodic idea.
-The piano melody, which is in even quavers, is all displaced by a semiquaver, creating constant
-Piano and viola continue the accompaniment in the same manner as before, but the cello now
provide as counter-melody to the violin in its tenor register. This uses similar melodic shapes, but
overlaps its phrases with the violins theme.
-In bar 47 all four instruments perform a unison link into the B section, simply by descending down to
the new tonic big contrast to before.
- There is slight imitation between the strings and the piano from bar 64 to 66.
-In bars 72-74 all four instruments perform a unison link into the A1 section, simply by descending
from a Gb down to an F, and this, the dominant Bb, allows for the return of the opening theme
compares to bar 47 similar process.
-The chordal pattern in the piano is different the chords are the same but how it is played is
different. There are also added staccatos.
-From bar 90 the semi-quaver counter-melody originally in the violin, passes to the piano.
-The coda occurs over a tonic pedal Bb firstly in the piano, and latterly in the cello (using the
re-tuned bottom string).
-The piece ends with held notes from bar 119 in all parts, all being presented at different times.
However, the semi-quaver movement returns in the violin, viola and piano, playing scalic patterns
and alternating notes, whilst the cello plays a tonic pedal note to finish the movement.
-The final melodic flourish is from the piano in bar 130-131 outlining the tonic chord, but then is
immediately repeated by the viola to bring the movement to a close.