The piano thus became an ideal sounding board for the romantic movement. It was capable of luscious expressive melody. It could obtain effects of great delicacy and intimate character. It could be loud, astonishing and orchestral. Its tone was in itself a thing of sensuous beauty. Its freedom in harmony was no less than its freedom in melody, and enharmonic changes, beloved of all the romanticists, became easy. It allowed the greatest liberty in the disposition of notes, and harmonic accompaniment, with broken chords and arpeggios, could take on an absolute beauty of its own. This sufficiently explains the complete change in the method of writing clavier music in the nineteenth century. One example of the way in which Mozart and Chopin obtained harmonic sonority in accompaniments will show how far-reaching the change was.
[Illustration: Music score: Mozart: Sonata in F major]
[Illustration: Music score: Chopin: Nocturne Op. 27, No. 2]
By the use of the damper pedal the Chopin formula gives the effect of a sustained chord. On the harpsichord it would have sounded like a few notes too widely scattered to be united in sonority.
With such an instrument every style of music became possible. Liszt asserted that he could reproduce any orchestral effect on it, and many of the best orchestral works of his time became generally known first through his pianoforte arrangements of them. Equally possible were the simple song-like melodies of some of Chopin’s preludes, or the whimsical genre pieces of Schumann. As a consequence the wonderful piano literature of the nineteenth century is equal to any music in range, power, and emotional expressiveness.
Nearly all the qualities of romantic music find their beginnings in Beethoven. But it is not always easy to disentangle the romantic from the classical element in his music, and for convenience we begin the history of the romantic period with Schubert and Weber. For the specific and conscious tendencies of romanticism first showed themselves in the fondness for smaller free pianoforte forms, which Beethoven cultivated not at all, if we omit his historically negligible _Für Elise_ and one or two other pieces of the same sort. Beethoven’s later sonatas, while romantic in their breaking through the classic form and seeking a more intense emotional expression, are rather the prophets of romanticism than its ancestors.