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PASCAL AMOYEL
Nothing in his work will be as it was before. His piano itself becomes an orchestra,
attains a new dimension attested by an adventurous style that one might almost
call progressive: unison rhythms, wide intervals, a meteoric or subtle use of the
pedal – this pianism exceeds the physical limitations of the instrument as surely as
Beethoven had some years before in the ‘Hammerklavier’ Sonata.
The exaltation of this discourse, the pertinence of the technical resources with
which it endows itself, the new solutions it discovers to extend the dynamic range
and the sound spectrum are as decisive as those Schumann and Liszt found in
parallel with Chopin. All three manifestly relied on a significant evolution in piano
making.