1. Chapter 16: The Early Romantics
The “Character Piece” for Piano

2. Key Terms
Character piece
Étude
Nocturne

3. The “Character Piece” for Piano
Profusion of Romantic character pieces
Short piano pieces – “miniatures”
They convey a distinct mood or character
Simple forms use repetition, contrast, return
Composed at all levels of difficulty
They appeared under many names
Nocturnes, ballades, scherzos, preludes, waltzes, études, Scenes from Childhood, Musical Moments, Songs without Words, Album Leaves, Pictures at an Exhibition, etc.

4. Schubert, Moment Musical No. 2 in A-flat
Open-ended title – any mood possible
No. 2 creates a Romantic lyricism, nostalgia
Form uses contrast & return
A B A’ (coda) B’ A’’ coda
Lyric A theme uses a gentle rocking figure
Extroverted, emotive B theme uses a steady moving accompaniment
A’ with coda feels like the end
Sudden, anguished fortissimo B’ comes as a surprise (in F-sharp minor!)

5. Schumann, Carnaval His style has warmth & privacy (innigkeit)
German innig = inward, intimate, heartfelt
He often assembled piano pieces in sets
Often with interesting musical connections
Carnaval is one of these collections
Musical portraits at a Mardi Gras ball
20 short character pieces portray – Schumann, girlfriends Estrella & Chiarina, composers Paganini & Chopin, and commedia dell’arte figures Pierrot, Harlequin, & Columbine

6. R. Schumann, “Eusebius” (1)
Schumann’s pen name for his tender, dreamy self
Rhythmically very free
Use of quintuplets, triplets, & rubato
Creates a vague, languorous effect

7. R. Schumann, “Eusebius” (2)
Form based on repetition, contrast, return
aa ba b’a’ ba
b is a more yearning variant of a
b’a’ is played in octaves with thicker chords & use of pedal

8. R. Schumann, “Florestan”
Schumann’s pen name for his impetuous, mercurial other self
Opening outburst follows Eusebius’s tentative ending
Built out of a single, explosive motive
Moves in fits and starts
Abrupt tempo changes go beyond mere rubato
Ending gets faster & faster, ends abruptly
Form based on repetition, variation
a a’ a’’ a’’’

9. Frédéric Chopin (1810-1849) Born near Warsaw, later settled in Paris
Pianist of miraculous ability & exquisite delicacy (but performed rarely in public)
Earned rave review from Schumann at age 20
Wrote almost exclusively for the piano
Preludes, nocturnes, études, ballades, mazurkas, polonaises, sonatas, concertos
Moved in high society & artistic circles – Delacroix, Balzac, Liszt, George Sand!
Frail health – died of tuberculosis

10. Chopin, Nocturne in F-sharp (1)
“Night pieces” – establish various moods
From languid serenade to dark, secret lament
F-sharp Nocturne opens with elegant tune
Singing quality with melodic decorations
Relaxed rubato & subtle chromaticism

11. Chopin, Nocturne in F-sharp (2)
Form uses repetition, contrast, return
a a’ b c a’’ coda
The main tune (a a’ b) is interrupted by c
Fragmentary yet intense return of a’’

12. Conclusions Character Pieces A typical “miniature” genre
Goal – to express a single, distinct mood
They use simple, sectional forms
Repetition, contrast, return, variation
Thematic unity achieved through recurring motives & similarity of mood
They account for the majority of Romantic solo piano music