109:). The first theme and the "two-versus-three" figures are nearly identical. The orchestration accommodates the Violin and Cello as accompaniment figures to the piano until the arrival of the second theme. The second theme starts initially with the Cello quoting a variant of the second theme of the first movement. The Violin plays a variation of this, followed by the piano's cadenza-like variation. After this, the second theme takes another form in the Più Mosso section that transitions back to the first "two-versus-three" theme. After a more chordal version of the first theme, there is a reiteration of the second theme which has more of an improvisatory like accompaniment provided by the piano. Following the additional Più Mosso section, the piano starts playing the first theme in a more block-chord format which will then transition the ensemble into a short
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initially as his Opus 9. Following some revision, he had finished and premiered the revised work in Sweden in 1858. The work would then be officially published in 1880. This piece was dedicated to the memory of his eldest daughter, BedÅiÅ¡ka. This work happens to feature paraphrases and quotations of
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featuring two Trios, but identified as
Alternativo I and II. Similar to the beginning of the first movement, the Piano and Cello (instead of the Violin) start on the letter D, and make their way to the Tonic much quicker with three ascending notes highlighting a harmonic minor. The piano will then
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There were mixed feelings in the initial 1855 premiere, but Franz Liszt had enjoyed it separately when paying a visit to
Smetana in Bohemia. Motivated by Liszt's endorsement, Smetana revised his work to a much warmer reception in Sweden. He would go on to publish his work in 1880.
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that are both repeated twice. In the second
Alternativo, a sharp contrast is made in volume as all three instruments have a much louder chordal texture featuring a new rhythmic motive (dotted eighth->sixteenth) included. This second Alternativo is a premonition to the
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written in 2/4 and 6/8. After this march, the second theme is reiterated one last time in the major mode with arpeggiations as textural accompaniment. The piece arrives to a conclusion as the first theme is reiterated with an altered ending in the key of G Major.
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of the work. The second theme is introduced in measure 48 featuring the Cello (with Piano
Accompaniment). This theme can be identified as more diatonic in contrast to the first, and it is expanded on in the Più Animato section of the movement. There is a
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in the final movement. As the final reiteration of the A section returns, there is a chromatic interjection quoting from the first movement before ending in the key of G Major.
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start the first theme in the pickup to measure 9. In the first
Alternativo, both the Cello and Violin have similar thematic material during their respective
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The final movement (6/8, g minor) is the movement that most strikingly similar to
Smetana's Sonata in g minor (Movement IV
266:âPiano Sonata in G Minor, JB 3:24 (Smetana, BedÅich) - IMSLP: Free Sheet Music PDF Download.â Accessed May 12, 2022.
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http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-3000000151
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his previous Piano Sonata in G Minor JB 3:24 (1846). This work takes approximately 28â32 minutes to perform.
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184:âPiano Trio, Op.15 (Smetana, BedÅich) - IMSLP: Free Sheet Music PDF Download.â Accessed May 12, 2022.
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Leonidas
Kavakos, Daniil trifonov & Gautier Capucon play Smetana - Piano trio in G minor Op. 15
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that is an elaboration of the first theme reiterated in the Tonic. This movement ends with three
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beginning with a 7 measure Violin solo that is in the lowest register (Sul G) that starts on the
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that has the first theme abridged by the Violin solo once again. This piece ends with a
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52:. These seven measures will indicate the first theme that will also be featured in the
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https://imslp.org/Piano_Sonata_in_G_minor%2C_JB_3:24_(Smetana%2C_Bed%C5%99ich)
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Grove Music Online. "Smetana, BedÅich.â Accessed May 12, 2022.
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The Trio No. 1 in G minor for piano, violin, and cello, Op. 15'
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The second movement (2/4, g minor) is most reminiscent to a
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https://imslp.org/Piano_Trio,_Op.15_(Smetana,_Bed%C5%99ich)
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Smetana - Piano trio - Oistrakh / Knushevitsky / Oborin
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248:: CS1 maint: multiple names: authors list (
44:The first movement (3/4, g minor) follows a
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35:This piano trio contains three movements:
73:that have varying inversions of G Minor.
217:Chamber music : a listener's guide
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329:Chamber music by BedÅich Smetana
61:section that will lead to the
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339:Compositions for piano trio
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214:Keller, James M., 1953-.
22:, was written in 1855 by
140:Sviatoslav Knushevitsky
78:Allegro, Ma Non Agitato
107:Finale Molto Vivace
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166:Switzerland
127:Discography
89:espressivos
54:development
46:sonata form
323:Categories
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288:2022-05-13
172:References
156:, violin;
138:, violin;
132:Lev Oborin
244:cite book
236:951130705
160:, cello (
152:, piano;
134:, piano;
118:Reception
71:sforzandi
31:Structure
168:, 2016)
146:, 1950)
50:Dominant
84:Scherzo
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144:Moscow
101:Presto
99:III.
254:link
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232:OCLC
222:ISBN
76:II.
67:Coda
38:I.
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