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- Submitted: Jan 15 2012 01:15 AM
- Last Updated: Jun 10 2012 02:46 PM
- File Size: 37.91MB
- Views: 3254
- Downloads: 1,168
- Genre: Romanticism
- Form: Piano Trio
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Piano Trio No. 1 in F minor (2009)
4 Votes
1
Piano Trio No. 1 in F minor
This piece was conceived of in early 2008, but finished much later in late 2009. The piece is written in the romantic style and is meant to convey a wide range of emotions corresponding to events that were taking place in my life at the time. The first movement was performed at a concert in 2009 and was generally well received. I put quite a bit of time into this piece, and I am still surprised that I was able to write something of this magnitude.
The structure of the piece is in four movements, similar to many string quartets of the era. The first movement is in sonata form and a constant, driving energy emanates throughout the movement between the numerous modulations and expansive development section. Despite the often thick texture of the music, the violin, cello, and piano are able to converse freely to weave a very diverse story, emotionally. The second movement is in ternary form and contrasts the driving energy of the first movement very well with its sincere-sounding lines. A new theme emerges within the second section of the second movement which resembles, at least in character, the idea of the first movement. The third movement is in scherzo form with an expansive trio, again returning to the second theme posed in the second movement and the initial theme of the first movement. Finally, the last movement is in theme and variation form, with the theme statement coming after a brief elegy-like dialogue. The last movement goes through all of the textures and ideas posed in the previous movements in an attempt to sum up the material in a climactic ending. The piece finally ends on a suspension, resolving to F major; a symbolic Picardy third.
Again, I wrote this piece quite a long time ago, and I'm aware it might sound like 19th century writing, but it still shows distinct characteristics of my writing and for that I'm very proud of the achievement. I hope that I will be able to have the whole piece performed at some point or another. I hope this is enjoyable to listen to.
I. Allegro Molto Appasionato - 8:07
II. Adagio Con Moto - 8:01
III. Scherzo - 5:46
IV. Tema Con Variaza - 10:16
Total Time -- 32:10
The sound samples are from the basic Sibelius sound set, so they are very terrible. Please don't judge the work on the sound samples. Thanks for listening!
This piece was conceived of in early 2008, but finished much later in late 2009. The piece is written in the romantic style and is meant to convey a wide range of emotions corresponding to events that were taking place in my life at the time. The first movement was performed at a concert in 2009 and was generally well received. I put quite a bit of time into this piece, and I am still surprised that I was able to write something of this magnitude.
The structure of the piece is in four movements, similar to many string quartets of the era. The first movement is in sonata form and a constant, driving energy emanates throughout the movement between the numerous modulations and expansive development section. Despite the often thick texture of the music, the violin, cello, and piano are able to converse freely to weave a very diverse story, emotionally. The second movement is in ternary form and contrasts the driving energy of the first movement very well with its sincere-sounding lines. A new theme emerges within the second section of the second movement which resembles, at least in character, the idea of the first movement. The third movement is in scherzo form with an expansive trio, again returning to the second theme posed in the second movement and the initial theme of the first movement. Finally, the last movement is in theme and variation form, with the theme statement coming after a brief elegy-like dialogue. The last movement goes through all of the textures and ideas posed in the previous movements in an attempt to sum up the material in a climactic ending. The piece finally ends on a suspension, resolving to F major; a symbolic Picardy third.
Again, I wrote this piece quite a long time ago, and I'm aware it might sound like 19th century writing, but it still shows distinct characteristics of my writing and for that I'm very proud of the achievement. I hope that I will be able to have the whole piece performed at some point or another. I hope this is enjoyable to listen to.
I. Allegro Molto Appasionato - 8:07
II. Adagio Con Moto - 8:01
III. Scherzo - 5:46
IV. Tema Con Variaza - 10:16
Total Time -- 32:10
The sound samples are from the basic Sibelius sound set, so they are very terrible. Please don't judge the work on the sound samples. Thanks for listening!
Thank you so much for the review! Since my profile showed that I had uploaded zero pieces in this new system, I resolved to upload all my pieces that I had previously posted here. While I don't write in a Romantic idiom anymore for my major works, I believe it is important to be able to, yes!
I appreciate your comments of balance of melodic material! Something good to think about.
Thanks again for listening through the whole thing! People these days don't have the attention spans for such music.
I appreciate your comments of balance of melodic material! Something good to think about.
Thanks again for listening through the whole thing! People these days don't have the attention spans for such music.
This work is outstanding in many ways. I appreciate very much the use of the Romantic musical language, which in my opinion hasn't lost a bit of its power to express strong feelings while being also interesting and pleasant to the ear (esp. when it manages to keep me eager to listen even after 30+ minutes).
This and much of everything else Austenite had to say in his review I concur with and echo.
You use the Romantic idiom effectively while expressing yourself through it in a way obviously unique to you, and that is to be commended.
I'd be careful about the double, triple and quadruple stops you give the strings if I were you; the final chord of the first movement jumped out at me as an example of something to avoid, for while they may be possible, they're not very practical. This is just something I'm scrupulous about as a string player.
Congratulations on a marvelous achievement! I look forward to hearing more from you in the future.
I really enjoyed this. Thank you for the upload.
I'm really glad that I discovered this piece. I had previously heard other works by you (without commenting on them), but so far this is the one that makes the best musical sense for me, despite being also the one with the most conservative musical language. It seems that your music has suffered some kind of evolution since - but, at least to me, it has turned less spontaneous and more rigid, a tad too textbook to my taste. This piece is quite the opposite. It shows a sense of freedom and emotion that separates it from other of your works, even from those which retain a romantic language. Good job.
This is music of real substance. Congratulations. Wonderful job of holding the listener's attention over four long movements. It fully deserves being performed and interpreted and I hope that it receives the performances and acclaim that it deserves.
Perhaps you should try to explore more and develop (if you haven't) the style of composition you have broached in this piece. I believe it is seminal and has a lot of potential!
Perhaps you should try to explore more and develop (if you haven't) the style of composition you have broached in this piece. I believe it is seminal and has a lot of potential!
I'm really glad that I discovered this piece. I had previously heard other works by you (without commenting on them), but so far this is the one that makes the best musical sense for me, despite being also the one with the most conservative musical language. It seems that your music has suffered some kind of evolution since - but, at least to me, it has turned less spontaneous and more rigid, a tad too textbook to my taste. This piece is quite the opposite. It shows a sense of freedom and emotion that separates it from other of your works, even from those which retain a romantic language. Good job.
Hi, thanks for the review! I'm glad that you found this piece to be exhibiting a sense of emotion, as this was definitely the goal for the piece. I wouldn't say my music has "suffered" an evolution as of recently, but I will admit that within the last two years I have been somewhat lost to the idea of expressionism. Recently, though, I have started to regain my footing and I believe I am writing some of my best work.
This is music of real substance. Congratulations. Wonderful job of holding the listener's attention over four long movements. It fully deserves being performed and interpreted and I hope that it receives the performances and acclaim that it deserves.Perhaps you should try to explore more and develop (if you haven't) the style of composition you have broached in this piece. I believe it is seminal and has a lot of potential!
Hi, thanks for the comment! I have definitely written other works in the style of composition that you hear here but I believe that the best way for me to express myself is by using all the musical tools available to me. That doesn't mean never use tonality or "nice sounding" chords, but rather that I want the freedom to be able to use whichever technique I can in order to express myself and I find that Romantic style writing may be somewhat limiting in that aspect. Thanks for reviewing again
I don't have time to give an in-depth review right now, but, bottom line:
I don't care when you wrote it -- this is a masterpiece. Plain and simple.
I have nothing to give in terms of constructive feedback. It's a subtle, powerful piano trio that enthralled me from start to finish.
I don't care when you wrote it -- this is a masterpiece. Plain and simple.
I have nothing to give in terms of constructive feedback. It's a subtle, powerful piano trio that enthralled me from start to finish.- 4,385 Total Files
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The first movement is a very interesting piece by itself. It reminded me in a certain way of Tchaikovsky's trio, in the sense that the piano came most to the forefront, almost in a virtuosistic way, as opposed to both the violin and cello, which have less complex parts. The structure is solid and the tension adds up with each modulation in Beethoven-esque fashion.
The adagio provides a good contrast. The only qualm I have is (again) the balance. I'm feeling again that the piano gets most of the fun, despite the melodic passages and the well-placed pizzicato comments from the string instruments. (You can tell by my own compositions that I love passing melodies from one instrument/hand/section to another, so perhaps it's a matter of my taste).
The scherzo is much more balanced between the instruments, as they were given about equal chances in the playful passages. The use of pizzicato to introduce the slower Trio was very effective.
The fourth movement again brought Tchaikovsky's Trio to my mind. Everytime you seemed to find yet another twist to your initial theme (solemnity, playfulness, grief, waltz-like, etc.), while remaining virtuosistic and interesting. Instrumentally I also found it more balanced than the first two.
I hope this review somehow helps you. Thanks for sharing!