Berlioz instead chose to use instruments regarded harsh to convey these kinds of themes.
Numerous developments on a piano expanded the range and type of composition as well as helping expand markets for chamber music, song and music for solo piano within the 19th-century. These included a growing affordability, the creation of additional works for solo piano and voice and piano, the expansion from 5 octaves to 88 keys, an increase in size with the frame, leather hammer coverings, and damper pedal adjustments (Piano, p. 311; 294). This sort of innovations and trends widened the audience for chamber music, song, and solo piano as it elevated the capability in the piano that was, in turn, applied by a number of composers in particular creations. For example, the music of Chopin included the technique of "tempo rubato," and many works for solo piano including his "nocturnes" and "etudes," filled with technical challenges that show the composer's disdain for "the regular finger exercises that have been so well-liked in his time" (Piano, p. 303).
One of Wagner's most ambitious goals is named "deeds of music created visible," or his belief that drama could be produced palpable to audiences according to the power of instrumental music alone (Drama, p. 322). Wagner disliked the relationship of voice or song, with ornate vocal lines that had to become repeated for understanding. His relationship of voice to orchestra was enhanced in his opinion by setting the melody for the orchestration instead of linking it with voice, which allows his "words to come through with remarkable clarity" (Drama, p. 325). One more of Wagner's innovations resulted in "fluidly continuous" melody, what's usually called "endless melody" and involves Wagner's genuine melody as opposed to filler melody usually observed in works preceding his own, (Drama, p. 326).
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