Hence Chopin’s art of transforming the piano into a leading tenor or a prima donna and creating the impression of human breathing; hence that preeminence given to broad cantabile style, that intense legato, that inimitable sense of line and phrasing, that fullness of sound, that ‘cello-like quality which the piano can suddenly reveal. Even his particular conception of rubato is vocal and Baroque in essence, in that it seeks, wherever apt, to release the melodic part from all metrical fetters and let it expand with the perfect freedom of inflection found in singing.