By David Rowland
David Rowland lines 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 procedure used to be 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 in the course of the procedure and track of composer-pianists reminiscent of Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The booklet additionally contains an appendix of translated extracts from 3 famous piano-pedaling tutors.
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Extra resources for A History of Pianoforte Pedalling
It is equipped with steel or brass strings which are hit by two small wooden sticks':13 an instrument resembling, if not identical with, the pantalon. Although a comparison was often made between the undamped register of the piano and members of the dulcimer family, other parallels were sometimes drawn: In fortissimo, through the raising of the dampers, he leads us to believe that we hear an organ, the fullness of an entire orchestra. 14 - an effect much admired by Louis Adam (see the Appendix, p.
Other makers generally followed one of these two 'standard' arrangements or something more or less equivalent to them. It can therefore be assumed that almost any grand piano appropriate to the mature Haydn/Mozart and early Beethoven period would have either one or two sustaining levers with the probable addition of a moderator lever or stop. Other types of soft pedal seem rarely, if ever, to have been used on the 'Viennese' piano in the eighteenth century. The beginning of the nineteenth century saw two important developments; the disappearance of knee levers in favour of pedals and an increase in the standard number of devices on grand pianos.
The absence of pedalling in the earlier works could easily have led Czerny to his conclusion. The two pianists met in 1810, but by this time Clementi had been performing in public for forty years. Whatever his sources, Czerny's remarks are supported by at least two other pieces of evidence, dementi's persistent use of the harpsichord when other keyboard players were already performing publicly on the piano (see Chapter 1, p. 13) suggests that he was not always enthusiastic in keeping up with the latest performance trends; and the nature of his early pedal markings (see Chapter 4) similarly points to a cautious approach.
A History of Pianoforte Pedalling by David Rowland