The role of keyboard instruments in three romantic symphoniesA discussion of the role of keyboard instruments in three romantic symphonies: Symphony No. 5 in D minor op . 25 (1852), Symphony no. 3, “Organ” in C minor op. 78 (1886) and the Symphony on a French Mountain Air (Symphonie cévenole) op. 25 (1886)Keyboard instruments have been widely associated with the solo repertoire since its genesis. Although rarely used in the orchestra, a keyboard instrument can be an effective tool for adding color to a symphony. As orchestration primarily affects the richness of the music and therefore the effect of a Symphony, the conscientious use of keyboard instruments is obligatory. This essay aims to discuss three Romantic symphonies which respectively exploit the versatility, sonority and ability of keyboard instruments to assume the role of an orchestral instrument. Symphony No. 5 in D minor op. 25 (1852)Contrary to popular belief that "the innovative use of the piano as an orchestral instrument first occurred in France, since it first appeared in the scores of Saint-Saëns, by Indy, Debussy and Stravinsky" (Adler, 2002, 469), Neils Gade's fifth symphony is probably the first to introduce this new idea, as Brown acknowledges: "I don't know of any symphony prior to Op. of Gade. 25 with an obbligato piano” (Brown, 2007, 459). Being “a kind of experiment” (Brown, 2007, 465), Gade explores the versatility of the piano as both an accompaniment and solo instrument, as in a symphony versus a concerto. This is reflected in Berlioz's sentiments that “the piano can be seen in two ways: as an orchestral instrument, or as a small orchestra complete in itself” (Shepherd, 2008, 9). The symphony, which was a wedding gift for his wife, Sophie, opens with an unyielding statement from the strings and quickly contrasts with a softer passage as the piano glides with arpeggiated figures. If the absence of double exposure dispels doubts about the concerto character of the symphony, it is difficult to neglect the dialogues between the orchestra and the piano, typical of the concerto form. After careful study of the music, one will notice that the movement is dominated by the orchestra rather than the piano and, as Brown explains in a table (Figure 1), the "different orchestra/piano relationships are used to emphasize differences and changes. functions” (Brown, 2007, 460), resulting in an intriguing movement.