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Download e-book for iPad: A History of Pianoforte Pedalling by David Rowland

By David Rowland

ISBN-10: 0521402662

ISBN-13: 9780521402668

ISBN-10: 0521607515

ISBN-13: 9780521607513

David Rowland strains the background 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 huge function of nineteenth-century piano functionality and, coupled with new advancements in piano constitution, encouraged many composers to write down cutting edge works for the literature. Rowland examines this during the procedure and song of composer-pianists resembling Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The ebook additionally contains an appendix of translated extracts from 3 recognized piano-pedaling tutors.

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Additional resources for A History of Pianoforte Pedalling

Sample text

About 1806 the firm began to make grands with three pedals - two for sustaining and one for una corda. On these instruments the damper rail was divided around middle C (unlike continental instruments where the damper rail remained undivided) so that the treble and bass dampers could be raised separately. This arrangement made it impossible for the performer to raise all the dampers and use the una corda at the same time, so a couple of years later the firm reverted to the two-pedal arrangement, except that the right pedal was now divided in half so that this single pedal performed the same function as the two sustaining pedals on the threepedal models.

31 According to Milchmeyer, however (whose piano tutor was written following a twenty-four-year period of study of the instrument, eighteen of which had been spent in Paris and Lyons), the pedals had been ignored32 until Steibelt's arrival in Paris — he setded there in 1790, having previously visited the city: Composers and teachers ignored them, and regarded them as unnecessary, until finally the great talent of Herr Steibelt. . 33 Steibelt's concentrated use of the pedals is amply documented in the markings that appeared in his music from 1793, and he was quickly followed by a number of others (see Chapter 5).

Some makers immediately adopted it: Chouquet singled out the Russians and Austro-Hungarians, but makers all over Europe used it, such as Pleyel and Wolff (Paris), Ehrbar (Vienna), Schiedmayer (Stuttgart) and some smaller Swiss and British firms. Others were opposed to it especially, it seems, in England. Broadwood's, for example, who had been so adventurous earlier in the century, made their position clear in a pamphlet dated 1892: THE THIRD PEDAL for sustaining certain notes whilst the remainder are damped being of no value in the concert room, and liable to get out of order, is not adopted by John Broadwood and Sons .

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A History of Pianoforte Pedalling by David Rowland


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