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The repeated tenor notes, which patter underneath all but a few of the measures in the Chopin Raindrop Prelude—first A-flat, then G-sharp, then back to A-flat again, so evocative of raindrops—make the piece almost wholly unique in classical piano music.
Recently I decided to relearn a piece of classical piano music that I had performed in recital some years before, the Träumerei from Scenes from Childhood by Robert Schumann.
When I returned to the piano after a 25-year hiatus, I struggled with tempo rubato. I could not conceive how to inject my music with these mysterious elongations and compressions in the tempo.