The Piano Trio No. 2 in F major, Op. 80, by Robert Schumann was written in 1847. It has four movements:
Schumann's first two piano trios were written in close succession, despite the large gap between their opus numbers. [1] The second piano trio is more effervescent and cheerful in mood than the first trio – the composer himself said that it makes a "friendlier and more immediate impression" than its predecessor. [2]
Schumann's genius is heard in the way in which the first movement's relatively peaceful second subject sounds new and fresh, despite being a rhythmically altered version of the first subject. [2] The development section contains a quotation the second number, "Intermezzo", from Liederkreis Op. 39. [3] The intimately expressive second movement, in the key of D-flat major (the flattened submediant), opens with a sustained violin melody over an accompaniment consisting of cello and piano left hand in close strict canon. [4] The waltz-like third movement, in B-flat minor, is also extensively built on canonic imitation. [5] The material of the finale is largely built on the interplay between three contrasting elements in the first theme: a smoothly winding snatch of piano melody, a staccato answer in the cello, and a driving continuation in the violin. [2]
The Piano Trio No. 2 in F major, Op. 80, by Robert Schumann was written in 1847. It has four movements:
Schumann's first two piano trios were written in close succession, despite the large gap between their opus numbers. [1] The second piano trio is more effervescent and cheerful in mood than the first trio – the composer himself said that it makes a "friendlier and more immediate impression" than its predecessor. [2]
Schumann's genius is heard in the way in which the first movement's relatively peaceful second subject sounds new and fresh, despite being a rhythmically altered version of the first subject. [2] The development section contains a quotation the second number, "Intermezzo", from Liederkreis Op. 39. [3] The intimately expressive second movement, in the key of D-flat major (the flattened submediant), opens with a sustained violin melody over an accompaniment consisting of cello and piano left hand in close strict canon. [4] The waltz-like third movement, in B-flat minor, is also extensively built on canonic imitation. [5] The material of the finale is largely built on the interplay between three contrasting elements in the first theme: a smoothly winding snatch of piano melody, a staccato answer in the cello, and a driving continuation in the violin. [2]