The rise of the ‘virtuoso’ school in the early nineteenth century (Part 4)

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.

In conclusion, in the nineteenth century performers acted as virtuosos and superstars. With the increasing interest in virtuosity and development of ornamentations and figurations, piano techniques was enriched by crossing hands, leaps (more than an octave), parallelisms and chord figurations. Lighter Vienna piano mechanism made figurations, passages, scales and non legato articulation easier to achieve. In order to allow daring and very technically difficult performances, piano makers made every effort to improve the instruments. Pianos became bigger in order to ensure a sufficient volume needed in large concert halls. Moreover the internal wooden structure was replaced with the cast iron frame. All of these changes and improvements allowed virtuosos such as Chopin, Liszt, Paganini and Thalberg to excel in spectacular virtuosity expressed by their technically difficult and challenging performances.

Bibliography:

1. Z. Jachimecki, ‘Chopin, Fryderyk Franciszek’, Polski słownik biograficzny (Kraków 1937)
2. P. Kavanaugh, Spiritual Lifes of the Great Composers (Grand Rapids 1992)
3. M. Kowalska, ABC Historii Muzyki (Kraków 2001)
4. W. Mathews, A Popular History of the Art of Music, (Ebook 2010)
5. Revue et gazette musicale de Paris, Review on Thalberg (Paris August 15, 1839)
6. C. Rosen, The Romantic Generation (Cambridge 1995)
7. J. Siepmann, Chopin: The Reluctant Romantic (London 1995)
8. A. Walker, Franz Liszt, The Virtuoso Years (Ithaca 1987)

Websites:

1. Fryderyk Chopin Institute, Chopin Works, (http://en.chopin.nifc.pl/institute/)
2. A. Tran, Chopin the poet of the piano, (http://www.ourchopin.com/analysis/etude25.html)

Discography:

1. I.Stravinsky, Agon, SWR Sinfonieorchester Baden-Baden und Freiburg, Michael Gielen ( Hänssler Classic), CD 7703, 93226
2. I. Stravinsky, Cantata, Columbia Chamber Ens, Igor Stravinsky (Sony), CD 4689, M2K 46 301
3. I. Stravinsky, Canticum sacrum ad honorem Sancti Marci nomini, Irène Friedli, Frieder Lang, Michel Brodard, Orchestre de la Suisse romande, Neeme Järvi, Choeur pro arte de Lausanne (Chandos Chan), CD 2259, 9408
4. I.Stravinsky, Movements, piano, orchestra, Charles Rosen, Columbia Symphony Orchestra, Igor Stravinsky (Sony Classical), CD 4683, SMK 46 295
5. I.Stravinsky, Octet, European Solists Ensemble (Decca), CD 6652, 473 810-2
6. I.Stravinsky, Septet, Israel Baker, Columbia Chamber Ensemble, Igor Stravinsky (Sony ), CD 4685, SM2K 46297

This article was written by Edyta Lajdorf that runs piano lessons in London. Please get in touch if you’re looking for a piano teacher.