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 midst of the 19th century and past. Pedaling procedure was once a massive 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 during the procedure and tune of composer-pianists reminiscent of Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The e-book additionally comprises an appendix of translated extracts from 3 recognized piano-pedaling tutors.
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Additional info for A History of Pianoforte Pedalling
To begin with this use of the registers was decried as charlatanism, and students disliked them; but those who outlawed them are overcoming their prejudice, while at the same time many of them do not yet know how to use these registers skilfully. 43 Whatever excesses Steibelt may have been responsible for in the 1790s, they certainly did not prevent him from developing his own technique in such a way as to enhance the expressive and textural effects in his piano music of the early nineteenth century.
A grand by Tomkinson in the Victoria and Albert Museum has one, though it may be that the instrument was made in Broadwood's factory and sold under a different name. Clementi's grands had an additional pedal in the form of the harmonic swell for a few years around 1820. 28 It was of limited use, however, as were other pedals which are mentioned occasionally in the literature. Apart from refinements in the una corda and sustaining mechanisms, the English grand maintained the combination of those two pedals almost exclusively throughout its history.
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. . execution'61 for which the Viennese school was famous. If Hummel epitomised the restrained nature of the Viennese school, then Beethoven provided the perfect foil.
A History of Pianoforte Pedalling by David Rowland