The Schumanns, Chopin, & Liszt

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Presentation transcript:

The Schumanns, Chopin, & Liszt The Romantic Piano: The Romantic Piano: The Schumanns, Chopin, & Liszt

Franz Liszt, “Liebestraum”

I. Conventions in Performance (from early 19th c.) Franz Liszt A. Sit in Profile

I. Conventions in Performance (from early 19th c.) Franz Liszt A. Sit in Profile B. Play from Memory C. Play Works by Other Composers D. Recital by Single Performer playing only piano

18th-century piano sound

19th-century piano sound

The “Romantic Generation” Robert and Clara Schumann Frédéric Chopin Franz Liszt

II. The Cult of the Virtuoso & Piano Etudes A. Virtuoso/Virtuosity Defined B. The Original Virtuoso: Nicolò Paganini

II. 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 Miniatures A. Stylized Dances Waltz, Mazurka, Polonaise, Scherzo (e.g. Chopin Mazurka in B-flat) B. Pieces with Generic Titles Romance, Impromptu, Nocturne (e.g., Chopin Nocturne in E-flat) C. Character Pieces Short pieces with descriptive titles Lonely Flowers, Dreaming, Wild Hunt (e.g., Liszt, “Wild Hunt”) Often Grouped into sets (e.g. R. Schumann, Carneval) with Eusebius, Florestan, Chopin

IV. Innovations in Writing Music for Piano A. Melody in LH, Accompaniment in RH B. The “3-hand Trick” C. Rapidly Changing Harmony or Static Slowly Changing Harmony D. Double notes E. Octaves and Double Octaves F. Effects Using the Damper (Right) Pedal

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: 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: 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: 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)