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IMSLP (score)
Friedrich Hermann

Friedrich Hermann (1828-1907)

Nationality: German
Born: February 1, 1828, Frankfurt am Main Died: September 27, 1907, Leipzig (age 79)
imslp

Sonatine for Piano Trio in d minor, Op. 28, No. 2

(for violin, cello and piano)
I. Agitato
II. Marziale, tempo moderato

glossary

  • agitato, agité [F]—agitated, restless, excited
  • chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
  • marziale [I]—martial; in a march style
  • moderato [I], moderamente, modéré [F], modérément [F]—moderately, at a moderate tempo, applying a touch of restraint to its related word(s), e.g. allegro moderato
  • opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
  • sonatina [I], sonatine [F]—"little" sonata, typically shorter, less technically challenging, perhaps less "profound". Movements tend to minimize development sections.
  • tempo, tempi [pl]—speed or pace at which music progresses. Traditional classic music typically uses standard Italian words to designate the tempo, e.g. Allegro or adagio. Metronome markings provide precise numerical speeds. Tempo selection during performance is a complex artistic choice informed by composer's markings, performance tradition, technical limitations and interpretation.