Chausson - Piano Trio In G Minor, Opus 3

Ernest Chausson had a range of talents besides music. Through the urgings of his father, he completed his law degree and was appointed as a barrister to the court of appeals, but he was more interested in drawing, writing, and music. While he contemplated which way his life would go, he wrote a novel and spent time with his artist friends. He composed music as well, and played the piano as soloist and duet partner, and finally took private music lessons with Jules Massenet, an expense his wealthy family could easily afford. After these private lessons he enrolled at the Conservatoire in 1879.  His attempt to enter the Prix de Rome competition in 1881 met with failure, which led to him ending his studies at the Conservatoire and with Massenet at the end of the term.

After he left the Conservatoire he composed the piano trio which shows the influence Cesar Franck had on him even before he studied with him. The trio is in 4 movements:

I. Pas trop lent - Animé -  The first movement begins with an introduction that introduces dark themes that reappear in other movements. The remainder of the first movement itself contains fragments of the themes heard in the introduction. Chausson modulates his material widely throughout the exposition section. The end of the movement has dramatic restatements of an opening rhythmic motive of two eighth notes and a quarter note that alternate with more lyrical material. The rhythmic motive ends the movement.

II. Vite - The piano maintains its role as provocateur in this short scherzo as it scampers about while the two stringed instruments try to resist its influence. The structure is not in usual scherzo form, but is more of a set of sparkling themes that contrast with other more lyrical themes. It hardly has time for great profundity as it makes its way to its end.

III. Assez lent - This movement begins with a theme heard in the introduction of the first movement. The tempo is slower, and after the theme is stated it is changed and developed until another theme that is more lyrical is heard. The movement unwinds at a leisurely pace and is both sad and passionate in turn. There is much modulation in music that seems to slow down the sense of time as it continues. Traces of Wagner's influence on Chausson can be heard as well as Frank's, and the music ends in quiet repose.

IV. Animé - The final movement begins with a waltz that is far removed from the minor key music that has preceded it. Motives previously heard work their way back into the texture and by the end of the movement the mood has returned to the bleak minor key mood of the opening. With a grand piano run, the work ends fortissimo in G minor.