Romantic Piano Music [BETTER] Download

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The Romantic era is known for its intense energy and passion with compositions becoming increasingly expressive and inventive, as well as more difficult to play. Beethoven pioneered Romanticism, expanding rigid Classical forms to develop a whole new approach to music.

Romantic Piano Music Download

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Forms: Structures became freer and looser; the music could represent a picture, or perhaps a poetic narrative. Out of a love for their country, composers studied their national folk music and used themes as a basis for expressing patriotism. There was a tendency to write shorter works, some of which could express feeling, emotion or atmosphere.

Stylised piano music came into being, such as the waltz, mazurka, polonaise, and etude; music in free form arose, such as the fantasy, arabesque, rhapsody, song without words, ballade, impromptu and nocturne. Theme and variation was one of the few forms to survive from the Baroque period.

The six-and-a-half octave piano for which Beethoven wrote the late sonatas is the same piano as Schumann wrote for. It changed little until the 1840s, when makers responded to the increasing demands from pianists and composers who wanted more and more from their instrument. By the 1860s pianos were fuller and louder, with Pleyel and Erard leading the way.

By the late 19th century the piano had evolved into the powerful 88-key instrument we recognize today. However, it is important to remember that much of the music of the Romantic period, including that of Chopin, Schumann, and Brahms, was written for pianos substantially different from modern pianos.

There are two main types of rubato. In the type first described in the early 18th century (applied to vocal music), the singer was expected to deviate from the given rhythmic values for expressive purposes while the accompaniment stayed strictly in time. This style of rubato was endorsed by Mozart and Chopin; the right hand line is to be played freely, independently of the strict left hand accompaniment.

The first type of rubato survived into the 19th century in vocal and violin music, and in popular music to this day. It later gave way to a different type of rubato, characterised by subtle fluctuations in the tempo where (for keyboard players) the hands stay together as the tempo ebbs and flows.

Beethoven was among the first composers to specify the dynamic level at which he wanted the music to be played from moment to moment, using a range from pp to ff. He was also very clear about the touches he wanted. In Romantic music, we find an even larger range of sonorities and touches indicated by the composer that require considerable technical control and stamina.

Much piano music from the Romantic period makes significant technical demands on the player, out of reach for most amateur players of the time. Fortunately, there is plenty of material suitable for intermediate players. You can check out a variety of intermediate repertoire ideas of music of all periods in the Petrucci Library (click here).

Join us on Saturday 25th November for a day of presentations and workshops on playing music from the romantic period on the piano. In this full day event, Graham Fitch will demonstrate how to bring music from this period to life and to deliver stylistically appropriate, personal interpretations with confidence.

The day starts at 10:30am GMT and comprises a set of presentations on topics such as rubato, pedalling, technique, dynamics and repertoire followed by a performance workshop exclusively for romantic works.

It's fair to say that the piano really came of age in the Romantic period. Around the beginning of the 19th century, the likes of Beethoven had shown just how emotive it could be as instrument with his various sonatas, but it took something else to really transform the instrument - it took a virtuoso.

By the time the middle 1800s rolled around, there was a new piano genius in town - Frdric Chopin. He didn't live to see his 40th birthday, but he left behind him an incredible legacy and a whole repertoire of piano music that redefined exactly how you could play the instrument. Just listen to his so-called Minute Waltz (which actually takes around a minute and a half to play) to hear how the speed changes in that incredibly romantic style and how darn fast you have to move your fingers to play it:

The cult of the virtuoso was, by this point, a full part of the Romantic period, and many of the talented few lived like rockstars, touring Europe and setting hearts aflutter as they did. Besides all that, the piano music they wrote was becoming quite unlike anything the world had ever heard.

Sergei Rachmaninov was perhaps the most notable virtuoso that the piano has ever known. Tall, stately and with gargantuan hands (he apparently had an 11-inch hand span), Rachmaninov's piano compositions not only challenged the most seasoned of players, they were also imbued with incredible romanticism.

Chief among those romantic compositions has to be Rachmaninov's Piano Concerto No. 2. The second movement in particular has been a public favourite for well over 100 years, has featured in movies and is the absolute paradigm for romantic piano music. If you've not tried it before, make sure you're sitting down:

Lisa Witthas been teaching piano for more than 20 years and in that time has helped hundreds of students learn to play the songs they love. Lisa received classical piano training through the Royal Conservatory of Music, but she has since embraced popular music and playing by ear in order to accompany herself and others. Learn more about Lisa.

At the age of 21 he settled in Paris. Thereafter, during the last 18 years of his life, he gave only some 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and teaching piano, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his musical contemporaries, including Robert Schumann. In 1835 he obtained French citizenship. He maintained an often troubled relationship with the French writer George Sand. In his last years, he was financially supported by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. Through most of his life, Chopin suffered from poor health. He died in Paris in 1849, probably of tuberculosis.

Nocturnes, as the name suggests, generally exhibit a brooding or melancholy mood. There is relatively little to read on this page, and the first of the two paragraphs is more informative for our purposes as it focuses on musical elements such as tempo and form rather than on critical opinion.

tude Op. 10, No. 12 in C minor, known as the Revolutionary tude or the tude on the Bombardment of Warsaw, is a solo piano work by Frdric Chopin written circa 1831, and the last in his first set, Etudes Op.10, dedicated to Franz Liszt..

Unlike tudes of prior periods (works designed to emphasize and develop particular aspects of musical technique), the romantic tudes of composers such as Chopin and Liszt are fully developed musical concert pieces, but still continue to represent a goal of developing stronger technique.

It is hardly surprising ...that Chopin was very early on attracted towards the art of singing, and particularly ...BELCANTO. The great vocal school of the 1830's, in which the art of declamation and its dramatic expression in music were harmoniously united, represented for him the ideal and definitive model for interpretation. It was on the singing styles of RUBINI, of PASTA, that Chopin based his own style of pianistic declamation... (quotation from J.Eigeldinger: Chopin pianist and teacher as seen by his pupils page 14 and 95).

Felix Godeftoid's "cole chantante du piano" (Paris: Heugel, 186 1) illustrates the extent to which concepts borrowed from singing and the imitation of the voice continued to pervade pianistic thought up to the end of 19th century.

Liszt had a close conncetion with Rome, during his life: coming several times and also living in Rome and participating to Roman musical life.

He was often in Roman halls and theatres to attend Opera in Rome, and premiers and Classical Music concerts in Rome.

For Liszt instead, the interest in transcription was born,on one side for the desire to know more closely the compositional style of the authors and on the other,to explore the infinite possibilities of the piano in which he tried to transpose all the sounds of the orchestra. Verdi's works also animated his transcriptions from "Lombardi" to "Boccanegra's rminiscences" to paraphrase of "Rigoletto" written eight years after the premiere of the opera and which is based on the famous Quartet of act III "Beautiful daughter of love". All these Verdian arias are treated with great compositional mastery, but also with intense sharing and participation in the Verdian musical message. But also Donizetti with "Rminiscences de Lucia de Lammermoor" and Vincenzo Bellini with "Rminiscences of Norma" found perfect position in his articulated musical treatise on Italian Opera.

The most famous and popular piano pieces ever written: Liebestraum (Liszt), Fr Elise (Beethoven), Mondschein Adagio (Beethoven), Trumerei (Schumann), Consolation (Liszt), Lied ohne Worte (Mendelssohn), Rosamunde Impromptu (Schubert) and many more. Over two hours of classical favourites, played with a fine feeling for atmosphere and intimacy by the acclaimed pianist Misha Goldstein. 2351a5e196