Changing Expectations: Schubert’s Piano Trio in E-flat
September 6, 2006
The romantic era was a fertile period
in the history of musical experimentation, and traditional musical forms
such as the sonata, were undergoing interesting and unexpected transformations.
The works of Haydn and Mozart laid the foundation for this development,
but by the nineteenth century audiences knew what to expect so that
composers were hard pressed to push the boundaries. One particular innovative
example is the first movement of the Trio for Piano and Strings No
2 in E-flat Major, D 929 / Op. 100, by Austrian composer Franz Schubert,
completed just one year before his death. The work deviates from the
norm taking the listener on a true musical adventure.
The sonata form traditionally
presents two contrasting musical ideas, develops these ideas, and concludes
by returning to them; in musical terms, the three parts are exposition,
development and recapitulation. Even jazz follows fundamentally similar
principles by stating the head, improvising on it, and then restating
it.
exposition
Schubert’s Allegro first movement
opens with a unison melody played by the violin, cello, and piano (see
Example 1). The opening high note falls by leaps as the notes get faster.
The melody climbs almost halfway and then falls in three even faster
notes. This introduction returns intact much later to signify our journey’s
end.
Several bars later, as the volume
drops, the cello sings what should be the first theme (see Example 2).
The violin plays a quiet harmony and the piano is silent except for
punctuation. This theme is characterized in its first measure by the
neighbouring tone, a semi-tone below, which is the main feature in this
entire movement.
The second theme traditionally
provides contrast to the first, while still remaining within a closely
related key, usually with six out of seven pitches in common with the
opening key. Instead, Schubert disorients the listener with rapid chromatic
piano runs then lands in the drastically remote key of B minor. Instead
of having six notes in common with the opening key, he has only two
– a more extreme change would be difficult to imagine. As if that
were not enough, Schubert also switches from a major to a minor key,
as demonstrated by the short, repeated chords – an effect similar
to switching from sunlight to candlelight (Example 3). It is a pretty
tune and Schubert develops it immediately, rather than waiting until
the expected development section. The theme is repeated, moving through
unexpected keys suggesting that we may already be into the development
part, but that is not the case.
A brief allusion to the earlier
neighbouring-tone motif brings us to yet another melody, a contrapuntal
one in the strings, accompanied by a rippling stream of descending triplets
in the piano. It is odd to have so many distinct themes in one piece.
Schubert is not only pushing the boundaries of the traditional conception
of a sonata, he is also pushing his audience's ability to follow and
retain all of this thematic information.
The neighbouring-note motif returns
here. This is actually the theme that will be developed during most
of the next section and it is closely related to the earlier example,
but has grow (Example 4). The theme begins with the same notes, an octave
higher, and with the violin instead of the cello, which is instantly
recognizable to the ear even though the rhythm has changed. Notes are
now longer, but otherwise the first half of the theme is changed only
by falling immediately to the C, rather than dropping through a B-flat
arpeggio to the lower C. It is the second half of the theme that has
evolved the most. In the earlier statement it was similar in rhythm
and contour to the first phrase, but in this statement it is quite different.
Although the many distinct themes make this a difficult piece to follow
upon first listening to it, it becomes more fascinating during subsequent
hearings. At the end of the exposition, there is a complete repetition
of everything that has been heard so far, as if to ensure that nothing
has been missed.
Development
The development section is similar in
many ways to jazz improvisations. The themes for the piece are played
with, expanded upon, passed through different keys and between the various
instruments. The main theme for the development is the neighbouring-tone
theme, as it appears in Example 4, though not in its initial statement.
Schubert works this theme through radical key changes before eventually
bringing it home. The first key change is to B minor, the key that figured
as prominently as other themes from the exposition. From there the music
jumps a tri-tone to F - remember that a tri-tone is the most dissonant
relationship possible in music. Next, the theme shifts up a semi-tone
to F sharp. Schubert turns a completely unexpected shift into a completely
normal one. The combination of the tri-tone and semi-tone gives us a
perfect fifth, one of the most consonant relationships in music and
a common key change in the development of a piece. He repeats this process
again by modulating to C, the tri-tone of F-sharp, then modulating to
D-flat, the enharmonic equivalent of the fifth of F-sharp. The D-flat
then changes to C-sharp minor. This is wonderful to hear - D-flat and
C-sharp are the same note on a piano and virtually the same on the violin
and cello, but this change shows the importance of the contrast of major
to minor to this piece. Then, the theme moves into E minor, and shifts
up a semi-tone to return smoothly to E-flat, the original key of the
piece. Even knowing the path that the development takes, it is a captivating
listen as Schubert leads the audience down this complicated path with
its sudden twists and turns. Then, just when it seems that we are completely
lost he turns a corner and brings us back home.
Recapitulation
The return of the introduction signals
the end of the development section and the start of the recapitulation.
Schubert actually stays quite close to what is expected here and repeats
the exposition entirely in E-flat as a normal sonata ought to do. This
is not yet the end of the movement, though. The neighbouring-semi-tone
motif reappears, followed by the minor theme, and finally the introductory
theme returns one last time to round out the movement. Overall this
Allegro movement is an excellent example of how the concept of sonata
form, and indeed all of the traditional forms, grew throughout the romantic
era. Schubert challenged expectations by seeming to present more thematic
material than one would normally expect, then evolving the first theme
into the main theme. He made drastic modulations then shifted subtly
to arrive at a not-so-far-away key. Finally, he unexpectedly developed
the minor theme within the exposition itself before focusing on the
main one in the development section. These challenges to the audience’s
expectations keep the piece exciting to listen to, even now, almost
200 years after its premiere! n |
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