Paper Due 3 11
Elidia Lopez
MUS 302: Music History 1750-Present
March 11, 2015
Dr. Pfaff
Composer/Composition
Fanny Mendelssohn Hensel
Trio in D minor, op. 11, III Lied. Allegretto
Listening 1, March 5 (7:00 pm), laptop, without score, Würzburger Klaviertrio Upon my first listening I noticed that the piano part had more to it than I would’ve originally thought. The piano was not simply playing an accompaniment for the strings, but had its own distinct voice. When the violin came in for the first time it seemed to be echoing the piano part. As the piece went on I could hear that there seemed to be a lot of imitation between the parts. On my first listening I was unable to hear the form but could hear the beginning theme come in different points in the various voices.
Listening 2, March 6 (10:00 pm), laptop, with score, Würzburger Klaviertrio Listening to this piece while I was reading along with the score was extremely helpful. This time I was able to hear more clearly the individual lines instead of hearing the piece as a whole. Focusing on each part individually I was able to hear that each part played some version of the melody. Though the entrances of the melody were clearer, I was still unable to hear the form, even while reading along with the score. It was hard for me to hear the cello in the recording that I chose.
Listening 3, March 7 (9:30 am), laptop, without score, Claremont Trio I listened to a different recording this time and it made a big difference. Without hearing the echo of the hall I was better able to hear the cello. I tried to use this listening to hear the piece as a whole. The three voices for the most part are in agreement with each other, but even when they play against other voices they don’t sound like they are fighting each other. After still not knowing what the form is from listening I looked it up and discover it uses a modified strophic form.
Listening 4, March 8 (2:00 pm), car, without score, Claremont
MUS 302: Music History 1750-Present
March 11, 2015
Dr. Pfaff
Composer/Composition
Fanny Mendelssohn Hensel
Trio in D minor, op. 11, III Lied. Allegretto
Listening 1, March 5 (7:00 pm), laptop, without score, Würzburger Klaviertrio Upon my first listening I noticed that the piano part had more to it than I would’ve originally thought. The piano was not simply playing an accompaniment for the strings, but had its own distinct voice. When the violin came in for the first time it seemed to be echoing the piano part. As the piece went on I could hear that there seemed to be a lot of imitation between the parts. On my first listening I was unable to hear the form but could hear the beginning theme come in different points in the various voices.
Listening 2, March 6 (10:00 pm), laptop, with score, Würzburger Klaviertrio Listening to this piece while I was reading along with the score was extremely helpful. This time I was able to hear more clearly the individual lines instead of hearing the piece as a whole. Focusing on each part individually I was able to hear that each part played some version of the melody. Though the entrances of the melody were clearer, I was still unable to hear the form, even while reading along with the score. It was hard for me to hear the cello in the recording that I chose.
Listening 3, March 7 (9:30 am), laptop, without score, Claremont Trio I listened to a different recording this time and it made a big difference. Without hearing the echo of the hall I was better able to hear the cello. I tried to use this listening to hear the piece as a whole. The three voices for the most part are in agreement with each other, but even when they play against other voices they don’t sound like they are fighting each other. After still not knowing what the form is from listening I looked it up and discover it uses a modified strophic form.
Listening 4, March 8 (2:00 pm), car, without score, Claremont