By David Rowland
David Rowland lines the historical past of piano pedaling from its beginnings within the eighteenth century to its first adulthood in the course of the 19th century and past. Pedaling method was once a massive function of nineteenth-century piano functionality and, coupled with new advancements in piano constitution, encouraged many composers to put in writing cutting edge works for the literature. Rowland examines this in the course of the process and tune of composer-pianists comparable to Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The publication additionally contains an appendix of translated extracts from 3 famous piano-pedaling tutors.
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Extra info for A History of Pianoforte Pedalling
He describes the 'confusion of sounds' which results from over-use of the pedals and continues: Only ears accustomed to this, can applaud such an abuse; sensible men will no doubt give their sanction to my opinion. Neither Mozart, nor Clementi, required these helps to obtain the highly deserved reputation of the greatest, and most expressive performers of their day. 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.
In addition to material in the tutors of Milchmeyer, Adam and Steibelt a few scattered references to pedalling occur in earlier tutors. These are found mainly, though not exclusively, in German sources and a number of them have already been referred to in Chapter 3. They rarely exceed a sentence or two and never discuss technique in detail. Some conclusions can be drawn from their terminology, however, which is borrowed from that of the organ or harpsichord: Register (Regisire), £iig, and Stimme are the words most frequently used for stops, levers or pedals.
21 Walter's chief rival was Stein, several of whose instruments survive. The standard arrangement on these instruments from the 1770s to the 1790s is different from Walter's. Instead of knee levers for moderator and damper raising there are usually two for lifting the dampers, but no moderator. These levers operate each end of the damper rail so that it is possible to raise either the treble or bass dampers, or all of them. As on Walter's pianos, the damper rail is undivided, so that there is no clear division between treble and bass dampers (unlike the English system, in which the damper rail was sometimes cut in two around middle C).
A History of Pianoforte Pedalling by David Rowland