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The Piano Trio in C minor, MWV Q3, is a chamber work by Felix Mendelssohn. It was composed in 1820 and published posthumously in 1970. [1] Unlike many other piano trios, this work is scored for piano, violin and viola. [2] In key, all the movements are in minor, ending also in minor.
Piano Trio in C minor, MWV Q3 (Mendelssohn) Piano Trio No. 1 (Shostakovich) Piano Trio No. 2 (Mendelssohn) Piano Trio No. 3 (Brahms) Piano Trios, Op. 1 (Beethoven) Polonaises Op. 40 (Chopin) Pomp and Circumstance Marches; Popoli di Tessaglia! Prelude and Fugue in C minor, BWV 546; Prelude and Fugue in C minor, BWV 847; Prelude and Fugue in C ...
The trio offered inspiration to Johannes Brahms, with the opening theme of the finale being referenced in the scherzo of his Piano Sonata No. 3, Op. 5, as well as the opening of the first movement of this trio being the basis for the piano line in the finale of his Piano Quartet No. 3 in C minor, Op. 60. [3]
Piano Trio No. 1, Op. 8, in C minor for violin, violoncello and piano is a very early chamber composition by Dmitri Shostakovich. It was performed privately in early 1924, but was not published until the 1980s. Twenty years later, the composer wrote the more well-known Piano Trio No. 2 in E minor, Op. 67.
Prelude and Fugue in C Minor, BV 99 (1878) Improvisation on the Bach Chorale "Wie wohl ist mir, o Freund der Seele", BV 271b (1916) Duettino concertante after Mozart, BV B 88 (1919) Fantasia contrappuntistica, BV 256b (1922) Sylvano Bussotti (1931-2021) Tableaux Vivantes (1964) John Cage (1912–1992) A Book of Music for two prepared pianos (1944)
The third movement is a presto C minor in 6/8 time formally composed of a scherzo and trio: arranged in an ABA format. [4] The A section is rhythmically complex while the B section is more lyrical and melodic. It features frequent pianissimo dynamics, and suggests the same mood as the third movement of Brahms' Violin Sonata No. 3 in D minor Op ...
C minor, sonata form. Ends in C major. Ends in C major. Howard calls this movement "rhythmically intense," [ 8 ] and Keller writes, "By now we will understand that this piano trio is to a large extent “about” rhythmic variety, and the finale carries that idea through to the end through an abundance of hemiolas (i.e. brief passages of duple ...
To my mind, the piano can be effective in only three situations: alone, in context with the orchestra, or as accompaniment, i.e., the background of a picture. [1] A year later, he composed the piano trio without being asked to do so, when any number of other genres or instrumental combinations were also available to him.