The same comments apply to the attempts sometimes made to fill out the bare places in 18thcentury clavier music. There is no doubt that such filling out was often done on a second harpsichord with stops of a very light tone; but, if it cannot be done on the modern pianoforte in a touch so light as to avoid confusion between it and the notes actually written as essential to the design, it certainly ought not to be done at all.
A practised ear easily discerns the coexistence of these various tones when a pianoforte or violin string is thrown into vibration.
At the pianoforte his achievements culminate in the two books of studies, twice rewritten, and finally published in 1852 as Etudes d'execution transcendante, the Etudes de concert and the Paganini Studies; the two concertos and the Todtentanz, the Sonata the Hungarian Rhapsodies and the fine transcriptions of Beethoven's symphonies (the 9th for two pianofortes as well as solo), and of Berlioz's Symphonie fantastique, and the symphony, Harold en Italie.
Haydn finds the pianoforte so completely capable of expressing his meaning that he is at a loss to find independent material for any accompanying instruments; and the violoncello in his trios has, except perhaps in four passages in the whole collection of thirty-three works, not a note to play that is not already in the bass of the pianoforte; while the melodies of the violin are, more often than not, doubled in the treble.
Are eight horns in the orchestra their material should be indistinguishable from pianoforte writing, and that, in short, the part of every instrument should look exactly like the part of every other - such questions are for posterity to decide.
She composed several cantatas, two pianoforte concertos and five operas, Sofonisbe, Ciro in Armenia, Nitocri, Il Re Pastore and Insubria consolata.
Arlington is an important centre for market-gardening (in hot-houses), and along Mill Brook, in the township, are several factories, including chrome works, a large mill and a manufactory of pianoforte cases.
There seems no good reason why in modern performances the pianoforte should not be used for the purpose; if only accompanists can be trained to acquire the necessary delicacy of touch, and can be made to understand that, if they cannot extemporize the necessary polyphony, and so have to play something definitely written for them, it is not a mass of interesting detail which they are to bring to the public ear.
About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.
Omitting trifles and all publications that have been cancelled, the following list of compositions may be taken as fairly comprehensive: - Pianoforte Pieces.