Piano Trio in G Minor, Op. 15

Piano Trio in G Minor, Op. 15, is the first of several pieces of music to be inspired by a tragedy in Smetana’s life. Spurred by the death of his beloved daughter BedÐ*™iÐ*ÐŽka (1851-1855), “an extraordinarily gifted child, [Smetana was inspired] to compose [his] chamber work in 1855.” (Large 65) The trio starts with feelings relating to Smetana’s anguish, followed by a dedication to the memory of his daughter torn between her life and death, and ending with a movement that gives eventual closure to Smetana’s loss.

The style of the trio involves stylistic elements of both Schumann and Liszt, as is characteristic of several of Smetana’s musical pieces (Clapham 65) and is composed of three voices: the violin, cello, and piano.

In the first movement, there is a great similarity to Clara Schumann’s Trio in G Minor. This brings to mind the idea that Smetana may have used the theme similarity to show what kind of musician his daughter might have been had she survived adolescence (Hefling 320).

The first movement possesses two major themes that both utilize the chromatic descent of a fifth. This descent is also a common theme that ties the three movements together. The movement begins with an arresting violin solo on the G string of the violin which is representative of the baroque chromatic symbol for grief and sorrow (See Figure 1.).

Figure 1 (Smetana).

The motif of these opening measures is the unifying idea that binds the three movements together (Clapham 65). The piano and cello then enter in and continue the feeling of lament by adding rhythmic definition.

A second theme that is less tense and depressed, is introduced in B flat major where the cello takes up the melody. This gives a feeling of innocence and angelicness, similar to what Smetana’s daughter may have possessed, providing a sensation of comfort and peace. The piano adds a cheerful, playful theme, continuing the depiction of Smetana’s daughter. The theme then ends and enters back into the feeling of tension. The tension then wells up to the climax of the piece. Once the climax is reached, the musical lines dissipate to the recapitulation and then accelerate to an unsettling minor end. This ending differs from the other two movements as they both end in major, not minor.

In the second movement, Smetana deviates from the general trio format as it possesses a polka-like feel with two alternativos as opposed to the general slow movement. This movement serves to depict the memory of Smetana’s daughter’s childlike beauty and nature.

The piece begins in G minor with a fast paced, upbeat feel driven by the piano. In Alternativo I, the pace slows to andante and a calm, serene melody shaped with legato is carried, perhaps depicting the characteristics of Smetana’s daughter’s personality. The

piece then returns to the initial agitated theme, increasing in intensity and volume and terminated with a grand pause.

In Alternativo II, the feel is very mournful and full of pain and lament. This part has a feeling of death about it and Smetana makes a note to play con dolore. The strings combine to take over the majority of the melody. The piano plays brief bits of a quiet, peaceful melody that contrast to the strings’.

The piece then transitions back to the original, fast paced theme and suddenly becomes slower and more relaxed in nature for a few measures. As used in the previous movement, Smetana uses a chromatic descent of the fifth to add an air of death and sadness (See Figure 2.).

Figure 2 (Smetana).

At the end of the movement, the piece crescendos to forte and then decrescendos suddenly to piano within a single measure. The piece ends on a long, drawn out, G major chord creating a positive ending following a feeling of sadness and unbearable pain and suffering.

The principle theme of the third movement (See Figure 3.) is taken from the Czech folksong "S'il jsem proso na souvrait” (“I was sowing millet”), a theme which Smetana also uses in his “Characteristic Variations on a Czech Fok Song” and in his “Piano Sonata in G Minor.” This song is associated with the Rebellion of the 1840s in which Czech citizens struggled to end the Absolutism power and to make Czech the national language and encourage Czech identity (Large 34). By using a theme that represents the Czech radicals’ desire to express their identity, Smetana creates a parallel to his desire to come to terms with the loss of his daughter, a part of his identity that is lost forever.

Figure 3 (Smetana).

The principle theme consists of a polyrhythm with couplets versus triplets, giving an uneven feel to the flow of the piece. This could express the irregularity of his dying daughter’s heart beats. This part of the piece is played presto and the melody switches off between the piano and the strings. When the strings take over the melody, the dynamics crescendo, giving a more impassioned feel. This empowered section depicts the anger Smetana

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