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Here’s a short account of the rise of the “virtuoso” school in the early nineteenth century that identifies the stylistic characteristics of the ‘virtuosi’ by referring to three works by three different composers. It includes comments on the social and musical significance of the “virtuosi” and discusses to what extent their arrival was a consequence of the development of the piano in the early nineteenth century.
Chopin didn’t set himself such lofty goals as Liszt. With his Etudes he started the process of overcoming the brilliant style and working out the principles of the individual piano style. ‘Chopin is the originator of the extended arpeggio chord, of the chromatic sequences of the diminished sevenths with passing notes, and cadenza forms derived from them.’ [1] His style is characterized by the perfect balance between pianist’s abilities and the elements of form such as dynamic and agogic shape, melodic and harmonic details (articulation, phrasing and even individually treated fingering). However, his revolution did not abandon piano playing achievements. They were just subordinated by the requirements of an artistic form. Etudes became more than just an exercise but also a piece of high artistic value that regularly appeared as a part of the concert repertoire. ‘So difficult and so strange were these works, that for nearly a generation the more difficult ones of them were a sealed book to amateur pianists, and even virtuosi like Moscheles declare that they could never get their fingers reliably through them.’[2] Etude in B minor op. 25 no 10 is a perfect example of this. It has an ‘octave’ texture, features a very significant ternary form and is full of unprecedented volume and power. Triplets of double octaves that move in chromatic motion and in unison serve only as an introduction to the melodic trio in B major in the middle of the piece. In A1 and A2 sections we can find ‘’middle’ notes that are usually to be held for one or two measures. These middle notes are what make the piece so difficult.’ [3]
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Another nineteenth century virtuoso, highly renowned from his brilliant piano technique, was Sigismond Thalberg. His performances consisted of rapid, fluent and clear scales together with an unbelievable sound full of sonority. His special technique of leading a melody in the middle of the keyboard is illustrated well in Fantasia on Rossini’s ‘Moses’, Op. 33’. ‘It consists of a principal melody on the strings in the medium of the instrument, played alternately by both thumbs, while both hands are traversing with rapid arpeggios the whole range of the keyboard.’[4] Thalberg was also famous of his achievements in playing piano. All of the most difficult passages and scales remained quiet but clear and full of sonority. Undoubtedly, it would not be possible without the improvement of the piano mechanism that took place during his career.
[1] W. S. B. Mathews, A Popular History of the Art of Music, (Ebook 2010), 445
[2] W. S. B. Mathews, A Popular History of the Art of Music, (Ebook 2010), 443
[4] Revue et gazette musicale de Paris, Review on Thalberg (Paris August 15, 1839) 310
Edyta Lajdorf BMus (Hons), MMus, LRSM, SMISM and piano lessons London instructor.