The Romantic Piano:

The Romantic Piano:The Romantic Piano:

The Schumanns, Chopin, & LisztThe Schumanns, Chopin, & Liszt

Johannes Brahms,Johannes Brahms,

Intermezzo in A Major,Intermezzo in A Major,

Op. 118, no. 2Op. 118, no. 2

I. Conventions in PerformanceConventions in Performance (from early 19th c.)

A. Sit in Profile

B. Play from Memory

C. Open Lid

D. Play Works by Other Composers

E. Recital by Single Performer playing only piano

Franz Liszt

18th-century piano sound

19th-century piano sound

Robert and Clara Schumann

Frédéric Chopin

Franz Liszt

The “Romantic Generation”The “Romantic Generation”

II. The Cult of the Virtuoso & Piano EtudesII. The Cult of the Virtuoso & Piano Etudes

A. Virtuoso/Virtuosity Defined

B. The Original Virtuoso: Nicolò Paganini

C. The Virtuoso Genre: The Etude (e. g. Liszt’s “Wild Hunt”

III. Romantic MiniaturesIII. Romantic MiniaturesA. Stylized Dances

B. Pieces with Generic Titles

C. Character Pieces

Waltz, Mazurka, Polonaise, Scherzo (e.g. Chopin Mazurka in B@)

Romance, Impromptu, Nocturne (e.g., Chopin Nocturne in c# minor)

Short pieces with descriptive titles Lonely Flowers, Dreaming, Wild Hunt (e.g., Liszt, “Wild Hunt”)

Often grouped into larger sets

IV. Innovations in Writing Music for PianoIV. Innovations in Writing Music for Piano

A. Melody in LH, Accompaniment in RH

B. Crossing Hands and The 3-hand Trick

C. Rapidly Changing Harmonies

D. Static, Slowly Changing Harmonies

E. Octaves and Double Octaves

F. Effects Using the Damper (Right) Pedal

V. A Piece You Can Never Hear: V. A Piece You Can Never Hear: Chopin Prelude in f minor, Op. 28, no. 18

Performance #1

•Period 1= 3 Phrases (short, short, longer)

•Period 2= varies phrase 1

•Short Phrases w. Loud Chords Punctuating

•Octaves with short-note motive (. . . . . ____)

•Ascending Transition (based on . . . . ____)

•Climax

•Downward Arpeggio and loud staccato notes

•Two-Chord Final Cadence (minor key)

V. A Piece You Can Never Hear: V. A Piece You Can Never Hear: Chopin Prelude in f minor, Op. 28, no. 18

Performance #2

•Period 1= 3 Phrases (short, short, longer)

•Period 2= varies phrase 1

•Short Phrases w. Loud Chords Punctuating

•Octaves with short-note motive (. . . . . ____)

•Ascending Transition (based on . . . . ____)

•Climax

•Downward Arpeggio and loud staccato notes

•Two-Chord Final Cadence (minor key)

V. A Piece You Can Never Hear: V. A Piece You Can Never Hear: Chopin Prelude in f minor, Op. 28, no. 18

Performance #3

•Period 1= 3 Phrases (short, short, longer)

•Period 2= varies phrase 1

•Short Phrases w. Loud Chords Punctuating

•Octaves with short-note motive (. . . . . ____)

•Ascending Transition (based on . . . . ____)

•Climax

•Downward Arpeggio and loud staccato notes

•Two-Chord Final Cadence (minor key)

V. A Piece You Can Never Hear: V. A Piece You Can Never Hear: Chopin Prelude in f minor, Op. 28, no. 18

Performance #4

•Period 1= 3 Phrases (short, short, longer)

•Period 2= varies phrase 1

•Short Phrases w. Loud Chords Punctuating

•Octaves with short-note motive (. . . . . ____)

•Ascending Transition (based on . . . . ____)

•Climax

•Downward Arpeggio and loud staccato notes

•Two-Chord Final Cadence (minor key)