Piano Quintet in A major, op. 81

The Piano ◽  
2021 ◽  
pp. 170-174
Author(s):  
ANTONÍN DVOŘÁK
Keyword(s):  
Piano Quintet

Piano Quintet in A major, D667, ‘Trout’

The Piano ◽  
2021 ◽  
pp. 77-81
Author(s):  
FRANZ SCHUBERT
Keyword(s):  
Piano Quintet

Preludio

2019 ◽  
pp. 1-26
Author(s):  
Peter J. Schmelz
Keyword(s):  
Piano Quintet ◽  
Compositional Evolution ◽  
Concerto Grosso ◽  
Prepared Piano

This chapter sets in motion the primary themes of the book, tracing briefly Alfred Schnittke’s compositional evolution before the Concerto Grosso no. 1, paying special attention to his Symphony no. 1 (1969–72) and his initial ideas about polystylism, as well as the works immediately preceding the Concerto Grosso no. 1, including the Piano Quintet (1972–76), Hymns (1974–79), Requiem (1975), and Moz-Art (1975–76). It also investigates the genesis, construction, and affect of the Preludio of the Concerto Grosso no. 1, focusing on its initial prepared piano chorale together with its other key motives. The chapter further discusses the interpretations of polystylism and postmodernism by such Russian writers as Svetlana Savenko and Alexander Ivashkin. Finally, the chapter sets in place the justification and format for the remainder of the book.

scholarly journals Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos

2012 ◽  
Vol 26 (1) ◽  
pp. 123-147 ◽  
Author(s):  
Ryan McClelland
Keyword(s):  
Piano Quintet ◽  
Metric Dissonance ◽  
Violin Sonata ◽  
Middle Period

The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, and resolves them convincingly near the end of the scherzo.

THE FIRST PIANO QUINTET

1963 ◽  
Vol 44 (4) ◽  
pp. 421-421
Author(s):  
STANLEY SADIE
Keyword(s):  
Piano Quintet

Piano Quintet

1982 ◽  
Vol 123 (1672) ◽  
pp. 418
Author(s):  
Robert Anderson ◽  
Schumann ◽  
LaSalle Quartet ◽  
Levine ◽  
Brahms
Keyword(s):  
Piano Quintet

Piano Quintet in A; Adagio in E[flat] for Piano Trio

1979 ◽  
Vol 120 (1632) ◽  
pp. 135
Author(s):  
Robert Anderson ◽  
Schubert ◽  
Nash Ensemble
Keyword(s):  
Piano Quintet ◽  
Piano Trio

scholarly journals Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)

2018 ◽  
Vol 59 (3-4) ◽  
pp. 301-308
Author(s):  
David Vondráček
Keyword(s):  
String Quartet ◽  
Franz Schubert ◽  
Formal Concept ◽  
Antonin Dvorak ◽  
Piano Quintet ◽  
The Third ◽  
Piano Quartet ◽  
Double Function ◽  
A Minor ◽  
Symmetric Structures

Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.

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