By David Rowland
David Rowland lines the background of piano pedaling from its beginnings within the eighteenth century to its first adulthood in the midst of the 19th century and past. Pedaling approach was once a tremendous function of nineteenth-century piano functionality and, coupled with new advancements in piano constitution, encouraged many composers to write down leading edge works for the literature. Rowland examines this throughout the strategy and song of composer-pianists resembling Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The booklet additionally comprises an appendix of translated extracts from 3 recognized piano-pedaling tutors.
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Extra resources for A History of Pianoforte Pedalling
57 Hummel's appeal to Mozart and Clementi is noteworthy. He was a pupil of the former and perhaps also the latter, though whether his comments should be taken to mean that Mozart and the younger Clementi avoided the pedals altogether is questionable. Hummel was not above stretching the truth a little in order to make his point. 59 Hummel's use of the pedals was more restrained than most, however. Czerny may have been overstating the case a litde when he commented that 'in Hummel's works it [the pedal] but seldom occurs, and it may generally be dispensed with',60 since the texture of the music clearly demands it in many places; but a frugal use of the pedals is only to be expected from a pianist who exemplified the 'precision, clearness and rapidity of.
39 Yet within this passage from Adam's piano treatise there is clear evidence that some pianists were beginning to develop more refined pedalling techniques out of what might be termed, politely, the 'experimentation' of the 1790s. Dussek could not have timed his return to Paris better. When he arrived there at the end of 1807 the quality of his playing was quickly recognised and appreciated all the more because of the excesses of the preceding decade: Good sense and a great man did justice to all these ridiculous things [the craze for effects]; Dussek, on returning to Paris, demonstrated how all that pedal paraphernalia could only accompany mediocrity, a true charlatanism, and also that people did not know how to use the sustaining pedal.
17 The combination of the sustaining stop and some other hand-operated device (usually for diminishing the sound) was used on pianos by other makers such as Friederici18 and was to become the most popular disposition of the eighteenth century. 1850 Sometime during the 1760s and 1770s performers must have begun to demand more flexible means of operating the mechanisms previously worked by hand stops. Instrument makers duly obliged by replacing hand stops with knee levers - these became the norm on German and Austrian pianos until they were replaced by pedals in the early years of the nineteenth century.
A History of Pianoforte Pedalling by David Rowland