The Piano Trio No. 2 in
F major,
Op. 80, by
Robert Schumann
Robert Schumann (; 8 June 181029 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career a ...
was written in 1847. It has four
movements:
#''Sehr lebhaft'' in F major
#''Mit innigem Ausdruck - Lebhaft'' in D-flat major
#''In mässiger Bewegung'' in B-flat minor
#''Nicht zu rasch'' in F major
Schumann's first two piano trios were written in close succession, despite the large gap between their opus numbers.
[Keller, James. ''Chamber Music: A Listener's Guide'' (Oxford University Press: London 2014), p. 425.] The second piano trio is more effervescent and cheerful in mood than the first trio – the composer himself said that it makes a "friendlier and more immediate impression" than
its predecessor.
[Donat, Mischa. Piano Trio No 2 in F major, Op 80 (Schumann) – from CDA30022 – Hyperion Records – CDs, MP3 and Lossless downloads](_blank)
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Schumann's genius is heard in the way in which the first movement's relatively peaceful second subject sounds new and fresh, despite being a rhythmically altered version of the first subject.Liederkreis Op. 39
', Op. 39, is a song cycle composed by Robert Schumann. Its poetry is taken from Joseph von Eichendorff's collection entitled ''Intermezzo''. Schumann wrote two cycles of this name – the other being his Opus 24, to texts by Heinrich Heine – ...
''.[Jensen, Eric Frederick. ''Schumann'' (Oxford University Press: London 2012), p. 279.] The intimately expressive second movement, in the key of D-flat major (the flattened submediant), opens with a sustained violin melody over an accompaniment consisting of cello and piano left hand in close strict canon.[Perry, Beate, ed. ''The Cambridge Companion to Schumann'' (Cambridge University Press: Cambridge 2007), p. 60] The waltz-like third movement, in B-flat minor, is also extensively built on canonic imitation.[Daverio, John. ''Crossing Paths: Schubert, Schumann, and Brahms'' (Oxford University Press: London 2002), p. 259.] The material of the finale is largely built on the interplay between three contrasting elements in the first theme: a smoothly winding snatch of piano melody, a staccato answer in the cello, and a driving continuation in the violin.
References
External links
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2
1847 compositions
Compositions in F major