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