Understanding Styles of Master Composers Part 1

Sometimes, in my rehearsals, it can be different switching from one composer to another. Sometimes we tend to oversimplify compositional styles by era: baroque, classical, romantic, or modern.  This totally forgets how completely different composers can be, even when born around the same time.  

I feel that this is most abused in the romantic repertoire, treating the composer's the same, forgetting vastly different backgrounds, nationality, or technique.   Many small individual touches that make up a composer, and their unique style.

Franz Liszt

Liszt almost feels like a character of legend, a titan of the piano, whose technique was unparalleled in his time.   Saint Saens gave a lengthy description of Liszt in his Portraits et Souvenirs.   He wrote:

"It is difficult to realize fully with what brilliancy and magic prestige the name of Liszt appeared to the young musicians of the early Imperial epoch. A name so strange for us Frenchmen-sharp and hissing, like a sword that cleaves the air; traversed by its Slavic z as if by a flash of lightning. The artist and the man seemed to belong realm of legend.  most of the pieces which he had published seemed impossible of execution for anyone else but himself, and they were so in truth, according to the antiquated method which prescribed immobility-the elbows kept at all times near the body and with limited action of fingers and arms."

In order for a pianist to be a great player of Liszt's music, they must possess brilliant technique; the pianist must have fingers strong enough to give forceful articulation during the many rapid runs, arpeggios and other pyrotechnics found in Liszt's music.   Liszt, along with Chopin, revolutionized technique of playing piano, especially in the manner in which the instrument is played.  I feel the "freedom" is the best word to epitomize his style and character.   Every musical device: dynamics, rubato, forcefulness, lightness, massiveness, orchestra like adaptions, should all be employed, hold nothing back.

His influence is profound, Saint-Saens continues his description on the impact of Liszt, "it is more potent than the influence  exercised by Paganini in the playing of the violin."

Johannes Brahms

The standard exercises, such as from Czerny, or the Chopin Etudes, do not offer sufficient preparation.   Brahms at times can be Massive, like his teaching Schumann, but laid out, with a broad base.  Many times he uses technical devices, like arpeggios, that are larger then the span of an octave, but unlike Chopin, they're orchestral,  not just pianistic.   His variations on a theme of Handel, and both sets of variations on a theme by Paganini require, titanic Technic, and consummate musicianship.

To play Brahms, breadth, strength, and virility are needed; so many times, pianists play Brahms with a plodding, almost lethargic nature.    This leads to the obvious, a boring performance that lacks life.      Brahms also requires great tenderness, but the pianist must remember that playing with an exaggerated  tempo rubato or with sweet sentimentality, more appropriate for a nocturne, would be a huge mistake in the music of Brahms.   While he does have tender pieces that sing with a soft eloquence, such as Wiegenlied or Capriccio in B minor.   Brahms' real spirit can be found in his Op. 5 sonata, the Intermezzos, Rhapsodies, Ballades, and the aforementioned Variations.   To do justice to these works, one must possess a titanic musicianship equal to a titanic Technique.


It is important to treat these composers as individuals, we all know the similarities found in romantic music of the piano, but it is more important to look at what makes these composers different.  I will visit several other composers through the course of the week.  please subscribe to read more!!