Editing Toccata (section)

===After the Baroque===
Beyond the Baroque period, toccatas are found less frequently. There are a few notable examples, however. From the [[Romantic music|Romantic period]], [[Robert Schumann]] and [[Franz Liszt]] each wrote a piano toccata. Schumann's ambitious [[Toccata (Schumann)|Toccata in C major]] is considered one of the most technically difficult works in the repertoire and the foremost representative of the genre in the 1800s. The Liszt toccata is a very short and austere composition from his late period, and is practically a toccata only by name. Smaller-scale toccatas are sometimes called "toccatina": Liszt's contemporary and well-known virtuoso in his day [[Charles-Valentin Alkan]] composed a brief toccatina as his last published work (Op. 75).

From the early [[20th-century classical music|20th century]], [[Sergei Prokofiev|Prokofiev]] and [[Aram Khachaturian]] each wrote a toccata for solo [[piano]], as did French composers [[Maurice Ravel]] as part of ''[[Le Tombeau de Couperin]]'', [[Jules Massenet]], [[Claude Debussy]] in his suite ''[[Pour le piano]]'' and also "[[Estampes|Jardins sous la pluie]]" (which is a toccata but not in name), [[Pierre Sancan]] and [[York Bowen]]'s Toccata Op. 155. [[Kaikhosru Shapurji Sorabji]] wrote four toccatas for solo piano,<ref>Roberge, Marc-André (25&nbsp;September 2012). [http://www.mus.ulaval.ca/roberge/srs/04-categ.htm "Titles of Works Grouped by Categories"]. ''Sorabji Resource Site''. Retrieved 25&nbsp;November 2012.</ref> while [[Moises Moleiro]] wrote two. [[George Enescu]]'s [[Piano Suite No. 2 (Enescu)|Piano Suite No. 2, Op. 10]], opens with a toccata. The first piece'', "Sévère réprimande''" (''Severe Reprimand''), of [[Erik Satie]]'s 1912 composition [[Veritables Preludes flasques (pour un chien)|''Veritables Preludes flasques'' (pour un chien)]] is a toccata. The British composer [[Peter Seabourne]] reverted to the earlier multi-sectional manner of Bach in his piano cycle called ''[[Steps_piano_cycle_series_(Seabourne)|Steps Volume 6: Toccatas and Fantasias]]'', his six examples being designed to be interpolated between the seven Bach [[Toccatas for Keyboard (Bach)|toccatas for harpsichord]] BWV 910-916. The same composer's earlier cycle ''Steps Volume 1: An anthology'' includes a toccata movement called ''A Touch'', with reference to the Italian verb ''toccare''.

The toccata form was of great importance in the French romantic organ school, something of which [[Jacques-Nicolas Lemmens]] laid the foundation with his ''Fanfare''. Toccatas of this style became vastly different from their predecessors. While early toccatas where improvisatory, French toccatas became more strictly metered.While the playing style changed, the Toccata continued to become more virtuosic. Toccatas in this style usually consist of rapid chord progressions combined with a powerful tune (often played in the pedal).The most famous examples are the ending movement of [[Charles-Marie Widor]]'s ''[[Symphony for Organ No. 5 (Widor)|Symphony No. 5]]'', and the Finale of [[Louis Vierne]]'s ''Symphony No. 1''.

Toccatas occasionally make appearances in works for full [[orchestra]]; a notable example is the final movement of the [[Symphony No. 8 (Vaughan Williams)|Eighth Symphony]] of [[Ralph Vaughan Williams]]. It could be said that the finales of [[Francis Poulenc]]'s [[Concerto for Two Pianos and Orchestra (Poulenc)|Concerto for Two Pianos and Orchestra]] and [[Maurice Ravel]]'s [[Piano Concerto in G (Ravel)|Piano Concerto]] are toccatas in all but name. The first movements of [[Benjamin Britten]]'s [[Piano Concerto (Britten)|Piano Concerto]] and [[Nikolai Medtner]]'s 2nd piano concerto are toccatas. The final movement of [[John Adams (composer)|John Adams]]' [[Violin Concerto (Adams)|Violin Concerto]] is entitled "Toccare," again referring to the origins of the word toccata; and the first movement (''Schnelle halbe'') of [[Paul Hindemith]]'s fifth [[Kammermusik (Hindemith)|''Kammermusik'']] (a viola concerto) is written as a toccata.<ref>Kammermusik No. 5, for viola and orchestra, Op. 36, No. 4. About. [[Classical Archives]]. [http://www.classicalarchives.com/work/76468.html#tvf=tracks&tv=about]</ref> Another contemporary composer who has written many toccatas is [[Emma Lou Diemer]]. In addition to several toccatas for organ, she has written three for piano (that of 1979 is frequently played), one for flute chorus, one for violin and piano, one for solo timpani and one for six mallet percussion. Both the finales of [[Samuel Barber]]'s violin concerto and piano concerto can be described as toccatas. The Argentinian composer [[Alberto Ginastera]] often utilizes toccatas or toccata-like forms as the finales of his works; notably in the Harp Concerto, Piano Concerto No.1, Violin Concerto, Guitar Sonata, and his Piano Sonatas. Russian [[jazz]] composer [[Nikolai Kapustin]] composed two toccatinas: one as part of his Eight Concert Etudes, Op. 40 and another, Opus 36. [[Evgeny Kissin]] wrote a jazz-inspired toccata as part of his ''Four Piano Pieces'', Op. 1.