Marmontel is beginning to attract attention today for his influence on piano education in the 19th century, but as a composer, he is largely ignored. His works lack the distinct personal style of Ravina or Prudent, and since he wrote multiple polonaises, nocturnes, and mazurkas, he can easily be mistaken for a mere imitator of Chopin. However, the nearly 200 works he composed, while conveying Chopin's importance and "greatness" in piano education to his students, could not have been created without a composer's self-awareness and pride, without being overshadowed by Chopin. Indeed, in the works from the Op. 50s, including Venise and Les Larmes – Élégie Op. 53, produced in the 1860s, as well as the Op. 120s, such as La Légende des Cloches – Six Pièces Caractéristiques Op. 121 and Douze Ballets – Suite de Pièces dans le Style Ancien Op. 122, inspired by the style of Baroque dances, his compositional skill and the piano's mechanism are harmoniously integrated. Marmontel's works generally do not feature symphonic development like Ravina's; they are thoroughly pianistic, and the musical ideas flow smoothly, gradually transforming without dramatic changes in color.

Analysis of Venise Op. 51

Venise Op. 51 is structured in ternary form. The form can be diagrammed as follows:

|| A (g) || B (G) || Transition (g) || A’ || Coda ||

The main theme is written in G minor, typical of a barcarolle, and is supported by an accompaniment with a slow, rowing rhythm. The middle section is written in the parallel major, G major; the "oar rhythm" disappears, gradually transitioning to an expression of inner feeling. In the transition section located between B and A', passion is revealed through cascading scales. In A', the theme is recapitulated almost identically, and the piece concludes with a striking G note, almost suggesting the sinking of a boat.