Almost immediately after Schubert there come composers in whom the new tendency is more marked. Mendelssohn entered the domain of the romantic in 1826, with his overture to the "Midsummer Night's Dream," and directly after him came Schumann, with a luxuriant succession of deeply moved, imaginative, _quasi_-descriptive, or at any rate _representative_, pianoforte pieces. Schumann, indeed, did not need to read a poem in order to find musical ideas flowing in unaccustomed channels. The ideas took these forms and channels of their own accord, as we see in his very first pieces, his "_Papillons_," "_Intermezzi_," "_Davidsbundlertaenze_" and the like. So, too, with Chopin. There is very little of the descriptive and the picture-making element in his works. Nevertheless, they chimed in so well with the unrest, the somewhat Byronic sentiment, the vague yearning of the period, that they found a public without loss of time, and established themselves in the popular taste without having had to find a propaganda movement for explaining them as the foretokens of a "music of the future." This representative work in music has been very much helped by the astonishing development of virtuosity upon the violin, the pianoforte and other instruments, which distinguishes this century. Beginning with Paganini, whose astonishing violin playing was first heard during the last years of the eighteenth century, we have Thalberg, Chopin, Liszt, Rubinstein, Joachim, Tausig, Leonard, and a multitude of others, through whose efforts the general appreciation of instrumental music has been wonderfully stimulated, and the appetite for overcoming difficulties and realizing great effects so much increased as to have permanently elevated the standard of complication in musical discourse, and the popular average of performance.