MUSICAL COMPOSITION

124 MUSICAL COMPOSITIONwhich, if the pianoforte part were omitted, have nosense or beauty in combination, and can only becomeintelligible when the pianoforte is added. They mustbe perfect in themselves, and in relation to each other,without any assistance from it. The quality of theirtone is so far removed from that of the piano that,whenever they are playing, their individual parts willbe markedly prominent in all their aspects. If theydo not combine well melodically, the faulty workmanshipwill be startlingly evident. The two trios ofBeethoven, Op. 70, No. 1 in D and No. 2 in E flat(more especially the latter) are the best possible objectlessons in this treatment. The first four bars of thefirst allegro of the E flat trio are an admirableexample in themselves - the main figure of the firstfour notes in octaves, followed by two parts of greatbeauty, sounding quite satisfactory even alone, enrichedby a third part on the pianoforte as melodious as theyare, but not essential to the grasping of the phrase:VIOLIN.