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The Romantic Piano:

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.

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The Romantic Piano:

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

  2. Franz Liszt, “Liebestraum”

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

  4. 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

  5. 18th-century piano sound

  6. 19th-century piano sound

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

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

  9. 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”

  10. 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

  11. 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

  12. 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)

  13. 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)

  14. 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)

  15. 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)

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