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Original autograph score, 1842. Zoom. The Polonaise in A♭ major, Op. 53 (French: Polonaise héroïque, Heroic Polonaise; Polish: Heroiczny) is a solo piano piece composed by Frédéric Chopin in 1842 [1] The piece is published in 1843, [2] and is one of Chopin's most admired compositions and has long been a favorite of the romantic piano repertoire. [3]
The Ten Pieces (in Finnish: Kymmenen kappaletta; in German: Zehn Stücke), [2] Op. 24, is a collection of compositions for piano written by the Finnish composer Jean Sibelius around the turn of the twentieth century, variously from 1895 to 1903. The most famous piece of the set is by far No. 9, the Romance in D-flat major.
The Sei pezzi per pianoforte [note 1] ("Six pieces for piano"), P 044, is a set of six solo piano pieces written by the Italian composer Ottorino Respighi between 1903 and 1905. These predominantly salonesque pieces are eclectic , drawing influence from different musical styles and composers.
The Fantasie in C, Op. 17, was written by Robert Schumann in 1836. It was revised prior to publication in 1839, when it was dedicated to Franz Liszt.It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early Romantic period.
24 Lyric Preludes in Romantic Style: piano 1958 Short pedagogical pieces [177] Franciszek Zachara: New Well-Tempered Clavicord for the Piano: piano 1950s 24 sets of preludes and fugues in all major and minor keys, with an additional 25th prelude and fugue (on a theme from Ernő Dohnányi) added at the end. Twenty-Four Etudes in All Keys
The Romantic era of Western Classical music spanned the 19th century to the early 20th century, encompassing a variety of musical styles and techniques. Part of the broader Romanticism movement of Europe, Ludwig van Beethoven, Gioachino Rossini and Franz Schubert are often seen as the dominant transitional figures composers from the preceding Classical era.
This lyrical, passionate, tender and romantic melody paints a picture of peace and a sense of harmony between the piano and the orchestra and has also inspired its title 'Romanze'. Halfway through, the piece moves on to the second episode (part C), where instead of the beautiful melody, a storm sets in.
One aspect of the nocturne that Chopin continued from Field is the use of a song-like melody in the right hand. This is one of the most if not the most important features to the nocturne as a whole. The use of the melody as vocals bestowed a greater emotional depth to the piece, drawing the listener in to a greater extent. [5]