ABSTRACT. Ritterman notices that Chopin’s early piano music conformed (at least externally) to the features of post-Classical concert repertoire. Finlow claims that with the etudes of Op. 10 Chopin realized the musical potential of the genre. Kinderman maintains that Beethoven’s musical thought was deeply rooted in the rhetorical art of the sonata style. Baker puts it that late in life Liszt discovered in his attempts to write Hungarian music the impetus towards increased experimentation. da Motta holds that in most textbooks of musical composition, the concerto form is described as inferior.