Movements
The piece is marked by a tragic perspective and is in two movements:
- I. Pezzo elegiaco (Moderato assai - Allegro giusto) (approx 18:00)
- II.(A) Tema con variazioni: Andante con moto - (B) Variazione Finale e coda (approx 29:00)
Total timing: approx 47:00.
The variations are as follows:
- Var I -
- Var II: Più mosso -
- Var III: Allegro moderato -
- Var IV: L'istesso tempo (Allegro moderato) -
- Var V: L'istesso tempo -
- Var VI: Tempo di Valse -
- Var VII: Allegro Moderato -
- Var VIII: Fuga (Allegro moderato) -
- Var IX: Andante flebile, ma non tanto -
- Var X: Tempo di mazurka -
- Var XI: Moderato -
- Variazioni Finale e coda: Allegretto risoluto e con fuoco -
- Andante con moto - Lugubre
The pezzo is a darkly brooding and rather conventional romantic first movement with a beautiful opening cello solo with a theme that returns for a final funeral march. The second movement is rather more unusual: it opens with an almost classical melody, much like Tchaikovsky's Variations on a Rococo Theme for cello, and then proceeds with an assured set of variations, also like the Rococo Variations. After working itself into more and more ecstatic heights culminating with the final variation, it suddenly goes through a surprising modulation to the original minor key, and the theme from the first movement returns with an even greater gravity, and the entire piece concludes with yet another death march.
The work, and the second movement in particular, is arguably the most difficult piece Tchaikovsky wrote for piano, whether solo, with orchestra, or in a chamber group. It remains popular, in spite of its length (it plays for more than 40 minutes), for its breathtaking lyricism and the cosmic finality of its final statement.
Read more about this topic: Piano Trio (Tchaikovsky)
Famous quotes containing the word movements:
“In a universe that is all gradations of matter, from gross to fine to finer, so that we end up with everything we are composed of in a lattice, a grid, a mesh, a mist, where particles or movements so small we cannot observe them are held in a strict and accurate web, that is nevertheless nonexistent to the eyes we use for ordinary livingin this system of fine and finer, where then is the substance of a thought?”
—Doris Lessing (b. 1919)
“Just as language has no longer anything in common with the thing it names, so the movements of most of the people who live in cities have lost their connexion with the earth; they hang, as it were, in the air, hover in all directions, and find no place where they can settle.”
—Rainer Maria Rilke (18751926)
“Justice begins with the recognition of the necessity of sharing. The oldest law is that which regulates it, and this is still the most important law today and, as such, has remained the basic concern of all movements which have at heart the community of human activities and of human existence in general.”
—Elias Canetti (b. 1905)