Historical improvisation

During the second half of the 18th century, the rise of the fortepiano brought new opportunities for improvisation. The cadenza, a passage where the soloist demonstrates their virtuosity, became a crucial moment in concerts, providing space for spontaneous creativity. This element, originally derived from vocal ornamentations in opera, was transferred to the instrumental repertoire, becoming an integral part of the concerto style.

Mozart, a master of the fortepiano, left an indelible mark on the practice of improvisation. His ability to surprise the audience with improvised cadenzas in his concertos was legendary. He was often challenged to improvise on proposed themes, and his performances not only dazzled but also became pivotal moments in the concert. The fame of his Piano Concerto No. 20 in D minor, K. 466, is an example of how the absence of a written cadenza invited the creativity of the performer.

Carl Czerny, a student of Beethoven, wrote treatises emphasizing the importance of improvisation in musical education. His work A Systematic Introduction to Improvisation on the Pianoforte highlighted that while improvisation is free, it should be coherent and structured to maintain the audience’s interest. This educational approach reflected a norm in musical interpretation: the ability to adorn and modify works to keep traditions alive.

Great figures like Bach and Beethoven were also renowned as exceptional improvisers. Countless anecdotes surround Bach, who impressed his contemporaries with his mastery of the art of improvisation. His famous encounter with King Frederick II, where he improvised a six-voice fugue, is a testament to his creative genius. Beethoven, in turn, continued this tradition, offering improvisations that ranged between formal structure and creative freedom, captivating both listeners and critics alike.

Over time, although the practice of improvisation was threatened by the formalization of cadenzas and the composition of increasingly complex works, it never completely disappeared. In the 19th century, musicians like Liszt incorporated improvisation into their recitals, challenging the audience to propose themes on which to improvise. This approach not only kept the tradition alive but also sparked a revival of interest in musical spontaneity.

Today, improvisation in classical music is experiencing a revival. Contemporary teachings value it as a vital tool for fostering creativity and personal expression. The practice of improvisation on the fortepiano has been revitalized, and both in education and performance, this art form continues to inspire new generations of musicians.

Hazen Collection. Madrid

It is one of the most important private collections of historical musical instruments in Spain. Its origins date back to the Hazen family, who for generations were dedicated to the sale and manufacture of musical instruments. The collection is made up of an impressive variety of instruments, many of them linked to the musical history of Spain and Europe.

The collection includes several fortepianos, early pianos, harpsichords, and other keyboard instruments of great historical value.

Museum of Music (Museu de la Música). Barcelona

It is one of the most important institutions in Spain dedicated to the preservation, research, and dissemination of music and musical instruments. It is located in the building of the Auditori de Barcelona and houses a vast collection of historical instruments from all over the world, offering visitors a journey through the history of music from antiquity to the 21st century.

Interactive Music Museum – MIMMA. Málaga

National Museum of Romanticism. Madrid

It displays a grand piano made of fine woods, adorned with marquetry, veneers, and inlays that create geometric and vegetal patterns. The royal coat of arms stands out on the keyboard lid. It has a seven-octave range (A-2 to A6), a metal tuning peg, dampers and felt hammers, as well as two pedals: the unison and the resonance pedal, mounted on a lyre-shaped structure.

This piano was manufactured by the prestigious Parisian firm Pleyel, founded in 1807 by Ignace Joseph Pleyel, and later led by his son Camille after his death in 1831. The Pleyel manufactory supplied pianos to various European courts and to renowned musicians such as Chopin, Liszt, and Falla.

This particular instrument was built specifically for Queen Isabella II, who was a great lover of music and received a comprehensive musical education from a young age. The lavish concerts she organized at the palace provided an excellent setting for showcasing her piano, harp, and singing skills. In 1959, it was donated to the museum by Infante Alfonso of Orleans and Borbón.

National Heritage of Spain. Madrid

It exhibits a Spanish square table pianoforte by Juan de Mármol (from Seville) from 1794.

Royal Academy of Fine Arts of San Miguel Arcángel. Santa Cruz de Tenerife

It displays an important cabinet pianoforte by the firm Broadwood and an early table pianoforte of English construction by Longman & Broderip, dated 1780.

José Zorrilla House Museum. Valladolid

A table pianoforte by Hosseschrueders, built in Madrid around 1840.

Joaquín Díaz Foundation of Urueña – Musical Instruments in the Museums of Urueña. Urueña, Valladolid

The Museum of Music in Urueña showcases part of the collection of instruments belonging to Luis Delgado.

It displays a pianoforte built around 1815, part of the collection of Father José López Calo.

Casa de los Tiros in Granada. Granada

It exhibits a pianoforte with fine marquetry, made by Lucas Martín in Madrid in the first half of the 19th century, representing the transition between the harpsichord and the modern piano.