At age six, Franz began listening attentively to his father's piano playing. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight. He appeared in concerts at Sopron and Pressburg Hungarian: Pozsony, present-day BratislavaSlovakia in October and November at age 9.
New innovations introduced by two of the greatest piano composers, Fredric Chopin and Franz Liszt, completely revolutionized the piano.
The Etudes were declared unplayable in their time. Both composers stretched and redefined the limits of the piano. However, the new school of pianists introduced a far more important aspect of technique into the new era other than increased virtuosic difficulties.
The new set of technical demands for piano also required a need for simplicity and effortlessness within the easiest and the most difficult passages to bring about the most beautiful tone quality one could manage, and to play with deep emotional expression at all times.
Fredric Chopin was the first most important piano innovator at the start of the Romantic Era. Most of the his predecessors, such as Hummel, Field, and Weber, were not given the opportunity to work with the new piano instrument constructed during that time.
Both French and English manufacturers were continuously working and developing the piano, particularly focusing on the damper pedal by enabling the bass string vibrations to be substantially prolonged. Chopin was one of the first composers who was able to work extensively with this new innovation.
He expanded piano technique by developing a new dependence on pedal, therefore influencing his entire writing style.
One particular Chopin invention was the the elaboration over a bass note with could be held on the pedal without dwindling too rapidly. He took advantage of this to develop his writing for the left hand. This is most effectively seen in pieces like the Spianato op.
The bass line is sustained while the left hand makes runs up and down the keyboard. This technique was not very effective in the older pianos of the time.
First, although this technique was already used by other composers but nowhere near the extent that Chopin incorporated it playing two notes against three notes, each in a separate hand, which requires extreme independence of the hands for all the parts to fall harmoniously into place.
This is seen in Etude op. This was something Chopin transplanted into piano writing from his Bel Canto experience. Chopin borrowed from the ornamentation and melismatic style that was practiced by singers in Bel Canto repertory.
The result was virtuosic passages which embellished his melodies. Although his ornamentation differed from vocal ornamentation, the similarities are evident. Although Chopin did not disagree with that statement, he sums up his own contribution to piano playing differently.
He was no longer content, like most of his contemporaries and many other pianists at that time, solely with finger articulation aided at best by the wrist. Within difficulties one must feel the arm to shoulder to wrist to finger connection with minimal tension.
This was the start of revolutionizing virtuosic technique. Naturally, these innovations are reflected in his piano writing style which was substantially richer and flashier than that of his immediate predecessors, such as Hummel, Field and Weber, and of his contemporaries.
The first of all his Etudes, op. From that he derived the following innovations:Feels Good to Me: CD stereo remix and DVD-A Surround Sound mix by Jakko Jakszyk (King Crimson, Dizrhythmia, worked with Dave Stewart, ex-Rapid Eye Movement) and Bill Bruford (although Jakszyk has said, "Bill handed over the whole remix to me"); mastering .
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