Portfolio3_B075573

1.

In General there is a relaxed and very romantic temporal feel to the piece.
In the first section of the piece, the piano gives an introduction before the
violin and cello take the lead and the piano gives the accompaniment.
The piece is in 6/8 timing however the left hand of the piano immediately
gives the feel that it is in the timing due to the waltz type
accompaniment in the left hand from bars 1 to 8. That rhythm also
reappears continuously throughout the movement. The violins give make
the andante very moving. Schumann uses a Mendelssohn style to pack it
with emotion (Edition SilverTrust, n.d.).
2. The violin and Cello play a big in arguing that melody line can be
described as singing. The long notes throughout the A section
along with the tremolo when played evokes the image of somebody
singing and a sadly romantic song. For example in bar 9 when the
violin takes the theme. Also in bar 20 onwards when the violin and
cello harmonise each other it feels like an emotional singing duet.
3. The violin in general has the main melody and the cello occasionally takes
a place with the melody. The piano begins the piece with the main theme,
and this is soon taken over by the violin in bar 9. The way that the violin is
played with a tremolo evokes the image of a very sad person singing.
While the violin plays this the cello plays single pizzicato notes in each bar
until bar 15 in which it becomes the lead voice in this with the violin
playing in harmony with it, again the cello shows a large amount of
emotion and voice in the way it is played with the tremolo. The phrasing
along with the legato in the melody lines give it a singing effect. The
piano is used mainly for the bass accompanying the strings. In the B
section in which the key turns to minor, the piano plays short but loud
chords to accompany the strings where the violin leads the violent melody
and the cello plays too. When the main melody comes back in the cello
takes the lead first with the violin playing pizzicato and the piano playing
the backline again. This soon follows into harmonies with the violin and
cello. The piece continues in this way until the end
4. If the piece is to be described as ABA (modified ternary) then the first
section would be from bars 1 to 40. The B section continues on to bar 43
where the tempo goes back to the original and the theme reappears. The
modified A section continues again until the end of the piece.
5. When the main theme reappears and the A section enters, one of the
differences is what the piano plays. In the original theme the piano for the
majority of the section plays waltz like bassline for example in bars 15
onwards until the B section. However when the A appears the piano plays
a flowing series of broken chords right until the piece finishes. Also in bar
53 when the A section comes in the cello begins with the them and the
violin accompanies and then until the end of the piece they harmonise.