| | By the 1770s the piano, in a stage of development we now often refer to as the “forte-piano” had taken over from the harpsichord as the instrument of choice for the composers of the day: the [[Bach]] sons, [[Joseph Haydn]], [[Mozart]] and others. In another 40 to 50 years its power and expressive range had reached relatively modern standards. (Perhaps the best way to illustrate this is to listen to a piano sonata written by Haydn or Mozart, then compare it to nearly any of the later [[Beethoven]] sonatas – he wrote 32, and their emotional range and expressive power are positively symphonic!) | | By the 1770s the piano, in a stage of development we now often refer to as the “forte-piano” had taken over from the harpsichord as the instrument of choice for the composers of the day: the [[Bach]] sons, [[Joseph Haydn]], [[Mozart]] and others. In another 40 to 50 years its power and expressive range had reached relatively modern standards. (Perhaps the best way to illustrate this is to listen to a piano sonata written by Haydn or Mozart, then compare it to nearly any of the later [[Beethoven]] sonatas – he wrote 32, and their emotional range and expressive power are positively symphonic!) |
| − | There are very few great or well-known composers, writing since 1800, who do not have a sizable corpus of piano music amongst their works. As well as Beethoven, the 19th century gave us [[Schubert]], [[Felix Mendelssohn|Mendelssohn]], [[Robert Schumann|Schumann]], [[Chopin]], [[Liszt]], [[Brahms]]; all of which are in the top row of that pantheon of western music, and all of which, if they had written nothing but music featuring the piano (like Chopin) would still be household names today. This would continue into the 20th century with [[Debussy]], [[Ravel]], [[Poulenc]], [[Rachmaninov]], Messiaen and others making important piano contributions. Many of these composers were fine pianists themselves – Liszt and Chopin of course, Brahms (who was offered a concert tour of America when he was only ten, and took up composing against the advice of all those around him. Brahms wrote 4-hand piano versions of all his major works and spruiked them at his concerts, much the same as the “latest CD” is sold in the foyer at a concert or recital today.) Rachmaninov never did work out whether he wanted to play, conduct or write. The young Shostakovich kept himself going by playing “accompaniment” in silent movie houses. Even composers not known for there piano compositions have been concert-class pianists- - [[Benjamin Britten]] and [[Leonard Bernstein]] are examples. | + | There are very few great or well-known composers, writing since 1800, who do not have a sizable corpus of piano music amongst their works. As well as Beethoven, the 19th century gave us [[Schubert]], [[Felix Mendelssohn|Mendelssohn]], [[Robert Schumann|Schumann]], [[Chopin]], [[Liszt]], [[Brahms]]; all of which are in the top row of that pantheon of western music, and all of which, if they had written nothing but music featuring the piano (like Chopin) would still be household names today. This would continue into the 20th century with [[Debussy]], [[Ravel]], [[Poulenc]], [[Rachmaninov]], [[Olivier Messiaen|Messiaen]] and others making important piano contributions. Many of these composers were fine pianists themselves – Liszt and Chopin of course, Brahms (who was offered a concert tour of America when he was only ten, and took up composing against the advice of all those around him. Brahms wrote 4-hand piano versions of all his major works and spruiked them at his concerts, much the same as the “latest CD” is sold in the foyer at a concert or recital today.) Rachmaninov never did work out whether he wanted to play, conduct or write. The young [[Dmitri Shostakovich]] kept himself going by playing “accompaniment” in silent movie houses. Even composers not known for there piano compositions have been concert-class pianists- - [[Benjamin Britten]] and [[Leonard Bernstein]] are examples. |
| | In the 18th century, the piano replaced the [[clavichord]] as the instrument of composition, a position it still holds. | | In the 18th century, the piano replaced the [[clavichord]] as the instrument of composition, a position it still holds. |