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A STRUCTRUAL GUIDE TO

SHOSTAKOVICHS TRIO OP. 67 NO. 2


WESTY SUMMERTON

FUGATO INTRODUCTION mm. 1-46

Fugue mm. 1-25 Melody & Accompaniment w/ counterpoint


Canonic Entrances; cello opens with subject, each voice mm. 1-25
answers in exact interval Violin takes melody, piano accompanies
Counterpoint Counterpoint in cello

SONATA EXPOSITION MM. 46-80

Introduction of Theme I Transition


Legato melody against insistent staccato Transitional material has traces of Theme I,
accompaniment. 2 Ideas: chromatic moving idea that builds
Tempo Change: Moderato, quarternote = 96 bpm to a climactic idea
Tempo Change: quarter note = 120 bpm
Unstable key
Introduction of Theme II
Very Brief
Introduction of Theme II
Tempo Change: Poco piu mosso, quarter note = 138
bpm
G Ma jor = (III), first instance of stable ma jor tonality
transitional climactic idea

A & B parts of Theme II

SONATA DEVELOPMENT MM. 119-185


First Introduction of Developmental Ideas
Bb Ma jor
Weaves Chordal Idea & Nagging Idea with
Theme II

Alteration of Theme II
Though starting in the same intervals of G Ma jor
from the Exposition, the Development adds a
raised fourth.

Second Developmental Section


Subito Piano Dynamics
Sets up another alteration of Theme II
2nd Alteration of Theme II
Interwoven with Transition Material
Unstable Key Signature, D pedal

SONATA RECAPITULATION MM. 186-248

Retransition
Return of chromatic transitional material

Return of Theme I
FFF

Brief Transition!
Quick change to 3/4

Return of Theme II
different accompanying figuring that gallops
altered body of Theme II
uses
CODA
Meshing of multiple themes in the haunting
character of the beginning
Starts with transitional material, builds to Theme
II in E minor (transposed) that is altered in
harmonics. This is interwoven with theme I.
Chromatic transitional material Ends in PAC.

Theme II, transposed

Theme II b used repeatedly Theme I,

Chromatic transitional material