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Chamber Music

Synopsis

We have produced a Style Guide to help editors follow a standard format when editing a listing. If you are unsure how best to edit this programme please take a moment to read it.
MAY Busby (Soprano) JEAN POUGNET (Violin)
DOUGLAS CAMERON (Violoncello)
HARRY ISAACS (Pianoforte)
MOZART wrote seven Piano Trios (i.e., works of the ' Sonata' type for Piano, Violin, and Violoncello). Their order varies in different editions ; this one, however, may easily be identified, as it is the only one in E Major and is numbered K. 642. The work is in three Movements.
FIRST MOVEMENT (Quick).-This Movement is as clear in design as it well could be. It is in ' First-Movement ' form, i.e., two main tunes are given out, 'developed' in a free way; then ' recapitulated.'
The Piano alone plays the whole of the first main tune at the opening, then repeats it with some help from the other two instruments.
A few scales and other little phrases follow, then the Violin plays a continuous tune--the second main tune. It is repeated by the Piano. In the light of what has been said, the rest of this Movement explains itself.
SECOND MOVEMENT (Moving along gracefully).—
This is a highly decorated Movement, but it is founded on a very simple (though rather long. tune which is played at the opening by the Piano) The tune itself contains a good deal of repetition, and the other two instruments join in each time a sentence is repeated.
THIRD MOVEMENT (Quick). —This is a, typical
Finale—full of intricate details, but spontaneous in its effect.
THIS was originally written for Pianoforte,
Violin, and Horn. There are four Movements.
FIRST MOVEMENT.-A rather slow one. It opens with the first main tune, in two-time, given first to Violin and then to Horn.
The second main tune (again introduced by the Violin) is much more animated, and is easily recognisable, as it is in three-time.
SECOND MOVEMENT.—A Scherzo. The Piano races off with octaves in three-time. When the other instruments enter a moment later, it is with a bold phrase in two-time, the rhythmic contrast of which, whenever it appears, is one of the features of the Movement.
The Horn has a smooth second tune and then the two ideas are fully developed and repeated, and so the first part of the Movement closes. Its middle section (' Trio ') is much gentler. The first part is then repeated.
THIRD MOVEMENT.—This is an expressive Slow Movement.
FOURTH MOVEMENT.—The
Finale is a lively Movement, though not without its deeper moments.

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