The Orchestral Character of Beethoven’s Pianism

Abstract

We can trace back to the pre-classical era pieces written for keyboard instruments but encompassing sonorities typical of other instruments. In Scarlatti`s Sonatas we can often perceive flute, oboe, horn, violin, guitar sonorities and so on. At a more complex level, in Bach`s works, owing to the polyphonic style, we find different simultaneous lines that can be associated with various instruments. In Haydn’s work, especially in the last Sonatas, there is a certain orchestral sound, whereas in Mozart’s, the situation is even more complex due to the notably vocal character of his melodies. However, the orchestral sonority fully reveals itself in Beethoven’s piano works, due to the existent symphonic structure, based on the continuous and more and more intricate development of the sound form, resulting in the crystallization of the sonata form, which is the foundation for music written not only for one or two instruments, but also for large orchestras and chamber music ensembles.