This week we (I) say a hearty welcome back to my absolute fave, Shostakovich, this time with his incredible second piano trio (that's for piano, violin and cello, in case the picture hadn't given you enough of a clue). We're down to three instruments, so how can a composer still manage to create such an interesting piece?
I think one of the main points of interest about this piece is that Shostakovich is exploiting the capabilities of the three instruments that he has at his disposal. Not only is he using the instruments for their different, adaptable roles as we have seen in previous weeks, but he is also beginning to widen the parameters in terms of what each performer is asked to do. This adds new colour to the music, allowing different musical ideas to link together in different ways and creating a very varied sound from quite a limited starting point.
For example, the first movement opens with some very delicate, almost flute-like harmonics from the cello (which is sounding higher than the violin). These interweave with a violin melody before the piano is added, at this point very low in register, adding to the colour and harmony of the music yet keeping it very atmospheric. The next section uses the same melodic ideas, but the strings play more of a rhythmic role where the piano takes over with the main melody, before the roles are then switched, the piano now playing staccato notes while the violin develops the material and the cello plays pizzicato (plucking - another different technique which further adds to the complexity of sound in this movement). There are later sections where both string instruments are pizzicato, adding an entirely new feel to the music. Throughout the movement, tension and pace builds as all of these roles and sounds come together in a folk like melody.
This folk style is continued into the second movement, which is built around the interaction between the three instruments. At different times, different instruments will comment on, accompany or respond to other parts before taking over themselves. This is all put together very intricately, and the end of the movement showcases another technique - the glissando, which here adds a rustic, almost cheeky feel to the music.
Movement three is much sparser in texture, but is extremely expressive. This is largely due to the use of the entire ranges of the instruments, and Shostakovich's very purposeful exploitation of all the expressive quality which comes with this. Again, we see the three instruments interacting in different ways before launching us into an epic final movement.
The fourth movement is, I think, a great example of everything I've just talked about all coming together. This movement really showcases each instrument and their unexpected abilities and expressive ranges, combining musical ideas from all previous movements as well as a tune you might recognise if you've ever heard Shostakovich's eighth string quartet. Notice how the rough sliding between notes and heavy percussion create a very specific feel to the music. I also love how Shostakovich explores so many different colours in this movement - the pizzicato violin along with the piano or the cello's harmonics sound very different to something you might first expect from a piece with this line up.
I hope this piece adds some excitement to your bank holiday Monday (but not too much, please, restrain yourselves). Next week we're going to look at another piece of music (no surprises there), but in an added twist, I haven't decided what yet. Do you know any pieces for two instruments only that would be fun to look at? Let me know if you do. Please.
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