human
In Memoriam pieces as Tchaïkovsky's noble Trio, written in honour of Nicolas Rubinstein--brother of the more famous Anton and a pianist of nearly equal eminence. The psychological basis of this Trio is of exceptional clearness; it is probably clearer than in any other composition of similar extension. Yesterday, Mr. Siloti played the pianoforte part at these concerts for the second if not for the third time. Frequenters have therefore enjoyed unusually good opportunities of becoming acquainted with the music, which we regard as on the whole the best example of Tchaïkovsky's chamber composition. As in Schubert's
gpt
Wanderer Fantasie, the centre of the whole is the theme of the second movement--a beautiful and expressive strain that, in the composer's imagination, evidently symbolised the personality of his lost friend. The ensuing Variations--which include a waltz, a mazurka, and others that are anything but sombre in character--range back over scenes and memories connected with that personality, the composer now giving himself up to lively characterisation, and now thrown back into an elegiac mood by the returning consciousness of the friend's death. Occasionally the two moods are mingled, as in that part of the waltz where the dainty dalliance of the pianoforte part is accompanied by the tragic variant of the central theme in the strings. The opening movement,
human
is dominated by that tragic variant which, at the very outset, is given out with mighty eloquence by the richest tones of the 'cello--a wailing complaint that recurs in many different forms and informs all three movements in one way or another. Analysing the composition, therefore, not with reference to musical technicalities, but psychologically, we find it to consist of three main elements:--(1) The composer's affection for his friend and grief at his loss; (2) biographical reminiscences and reflections thereon; (3) the funeral panegyric. To some extent these elements are intermingled throughout the work; but they dominate the respective movements as here numbered, so that, broadly speaking, one may call the first movement
gpt
the second
human
the third
gpt
In all important respects the Trio strikes us as thoroughly original, though in a few superficial matters the composer seems to take hints from certain predecessors. Probably the
human
Wanderer Fantasie influenced the general design to some extent; the opening of the Finale suggests the corresponding part of Schumann's
gpt
Etudes Symphoniques by its rhythm and atmosphere, and the short