The Growth of Piano Writing

    The first distinctively pianistic writing appeared at this time.  Beethoven, in spite of all the beauty of his piano sonatas, hardly realized the tonal possibilities of the pianistic idioms that Chopin and Schumann discovered soon afterwards.  His sonatas are more like symphonies in miniature, and could well be arranged for the orchestra, whereas a Chopin nocturne is unthinkable in any other medium.  There is an undoubted romantic element in Beethoven’s later writings, more particularly in his harmonies and his dynamics, and he has sometimes been called the " first romantic"; but on the whole, the classical element in his music is predominant.  This also applies to the piano music of Schubert, who keeps to the traditional forms in his piano writing much more than in his songs.  

    Weber was a contemporary of Beethoven and Schubert, but he comes into this, rather than the last, chapter, because he was not Viennese, and his contribution to German opera is definitely romantic.  He wrote a good deal of piano music, though it is not often played today.  It is very pianistic, though sometimes rather weak in form.  He wrote a number of sonatas, two polonaises, a well known 'Rondo Brillante’and an 'Invitation to the Dance'. 

    Chopin has been called the poet of the piano.  He realized to the full the possibilities inherent in the use of the pedal, and his accompanying figuration is very pianistic.  He wrote nothing of any importance except piano music.  His works are listed after his biography on P. 159.  

    Schumann, too, developed a distinctive piano style, though, unlike Chopin, he was interested in other mediums.  He experimented with pedal effects, as, for instance, at the end of 'Papillons'.  His harmonies are warm, rich and colorful, and he was fond of cross rhythms.  He wrote 3 piano sonatas, in addition to a large number of shorter pieces, which are listed under his name on p.161.  'Carnaval', which is largely programme music, is perhaps the best known and is a collection of short pieces, loosely held together by a “programme”  

    Mendelssohn's piano music, more particularly his 'Songs without Words', was exceedingly popular at the time it was written, and was much played in Victorian drawing-rooms.  But it has worn rather thin, and does not represent the best side of his work.  A few pieces, such as his 6 preludes and fugues, his brilliant 'Andante and Rondo Capriccioso', and his 'Variations Srieuses' rise above the general level.  He also wrote a number of organ sonatas.  

    Liszt (1811-1886) was the most brilliant pianist of his day, and he wrote many very difficult piano pieces that are still popular with pianists who have a brilliant technique and wish to show it off.  Musically, most of them have not very much of importance to say, though the B minor sonata is a fine work.  He wrote arrangements of many songs and operatic arias for the piano; and his Hungarian dances have great verve.