In This Paper We Will Go Through The Development Of The

2089 Words9 Pages
In this paper we will go through the development of the keyboard through the nineteenth century in chamber music. We are going to look at three different composers, Joseph Haydn, Ludwig van Beethoven, and Johannes Brahms. We are going to look and see how they treated the keyboard in their lives and compositions. For each of the composers we will look at one keyboard chamber piece so we can learn just a little more about how important it was to each composer and why. [introduction paragraph to be continued] The first composer we will be looking at is Joseph Haydn. He was one of the earliest composer of the nineteenth century, living most of his life in the eighteenth century. Therefore, he becomes the perfect candidate for us to use to…show more content…
Yes, there were many important composers between Bach and Haydn but Haydn stands out from the rest. The harpsichord was already in it’s decline by Haydn’s time and the fortepiano was rapidly becoming popular among musicians, professionals and amateurs alike. However, it had not yet become obsolete. There were many amateurs and professional musicians who still owned a harpsichord or two, including Haydn, who owned a few harpsichords himself. (He owned a similar harpsichord as the one pictured on the left.) Haydn grew up learning the harpsichord and even taught the harpsichord when he was a older. Yet, the harpsichord was becoming a thing of the past. While the harpsichord was not yet obsolete, the way music for the keyboard was being written was changing. Edward L. Kottick in his book, A History of the Harpsichord, writes that “The dynamics in the late sonatas of Haydn can be realized to perfection on an English Harpsichord with machine and swell,…,but Haydn’s sonatas are piano music and achieve their full potential only on that instrument.” However, Haydn “abandoned” the harpsichord a few years before the nineteenth century. Helen Rice Hollis in her book, The Piano - A Pictorial Account of its ancestry and development, writes: “He [Haydn] urged Madame von Genzinger [a close friend of Haydn’s] to buy a piano saying he could no longer compose for a harpsichord.” So right at the beginning of nineteenth century we already see the
Open Document