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The Art of Piano Pedaling: Two Classic Guides

The Art of Piano Pedaling: Two Classic Guides

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The Art of Piano Pedaling: Two Classic Guides

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167 pagine
1 ora
Pubblicato:
Sep 3, 2013
ISBN:
9780486318950
Formato:
Libro

Descrizione

With Rubinstein considered Liszt's only possible rival on the concert stage, and Carreño as the foremost woman pianist of the late nineteenth century, it is an unexpected gift that both have left behind insights into that supremely important — but grossly neglected — aspect of performance called "the soul of the piano": the art of piano pedaling. Their treatment of pedaling is of the utmost importance, not only from a historical standpoint, but for what it can still teach even the most sophisticated player. Rubinstein's pedaling technique is explored using specific examples from a vast repertoire of works he performed in 1885-6. Carreño's observations — written in a warm, non-academic style — explore her sensitivity to the most subtle keyboard colorings made possible through combinations of touch and pedal.
Pubblicato:
Sep 3, 2013
ISBN:
9780486318950
Formato:
Libro

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The Art of Piano Pedaling - Anton Rubinstein

THE ART OF PIANO PEDALING

Two Classic Guides

THE ART OF PIANO PEDALING

TWO CLASSIC GUIDES

Anton Rubinstein

and

Teresa Carreño

DOVER PUBLICATIONS, INC.

Mineola, New York

Warmest gratitude goes to the following friends of Joseph Banowetz, who aided enormously in helping to research his contribution to this volume: Donna Arnold, Natasha Bolshakova, Terry McNeill, Douglas Taylor, Marta Wodnicki, and the University of North Texas Music Library under the direction of Morris Martin.

Copyright

Copyright © 2003 by Dover Publications, Inc.

All rights reserved.

Bibliographical Note

This Dover edition, first published in 2003, is a new compilation of two music texts: Guide to the Proper Use of the Pianoforte Pedals with Examples out of the Historical Concerts of Anton Rubinstein / Translated from the German text of [Alexander Nikitich] Bukhovstev by John A. Preston, as published by Bosworth & Co., Leipzig, [1897]; and Possibilities of Tone Color by Artistic Use of Pedals: The Mechanism and Action of the Pedals of the Piano, by Teresa Carreño, published by The John Church Company, New York [1919].

We are indebted to Joseph Banowetz and Brian Mann for bringing these classic texts to our attention, for providing rare materials for their republication, and for introductions to the two texts, written specially for this Dover edition.

International Standard Book Number: 0-486-42782-X

Manufactured in the United States by Courier Corporation

42782X04

www.doverpublications.com

Contents

CONCEPTS OF PIANO PEDALING

by Joseph Banowetz

THE WALKÜRE OF THE PIANO

by Brian Mann

GUIDE TO THE PROPER USE OF THE PIANOFORTE PEDALS

with Examples out of the Historical Concerts of Anton Rubinstein

PREFACE

INTRODUCTORY REMARKS

1. Manner of Using the Pedal

2. Pedal Marks

Examples 1—7

3. Effect of the Full and Half Pedal upon the Dampers

4. Phonetic Pauses

Examples 8-10

5. The Primary and Secondary Pedal and Half Pedal

6. The Acoustic Properties of the Pianoforte

CHAPTER I: The Functions of the Pedal

Functions 1–16 / Examples 11-60

CHAPTER II: The Primary Pedal

Example 61

CHAPTER III: The Secondary Pedal

Examples 62–64

CHAPTER IV: Changing or Raising the Pedal

Examples 65–67

CHAPTER V: The Most Important Conditions for the Non-Use of the Pedal

Examples 68–74

CHAPTER VI: Use of the Pedal in Scale Passages and Harmonic Figures

1. Use of the Pedal in Scale Passages

Examples 75–89

2. Use of the Pedal in Harmonic Figures

Examples 90–95

3. Use of the Pedal in Combined Scale Passages and Harmonic Figures

Examples 96–97

CHAPTER VII: Use of the Pedal with Single Notes or Chords

Examples 98–105

CHAPTER VIII: Use of the Ordinary and Tremulo Half Pedal

1. The Ordinary Half Pedal

Example 106

2. The Tremulo Half Pedal

Example 107

CHAPTER IX: The Left Pedal (Una Corda)

Examples 108–114

CHAPTER X: Practical Hints for the Use of the Pedal

  1. The Harmonic Formation of the Piece

  2. The Melodic Formation

Examples 115–120

  3. Contrapuntal Rules

  4. Dynamics

Examples 121–123

  5. The Tempo

Example 124

  6. The Character of the Phrase

  7. The Character of the Effect Demanded

Examples 125–126

  8. Phrase Divisions

  9. Shading

10. Part of the Piano Used

11. The Size of the Hand

12. The Properties of the Pianoforte, its Fullness and Purity of Tone

POSSIBILITIES OF TONE COLOR BY ARTISTIC USE OF PEDALS

The Mechanism and Action of the Pedals of the Piano by Teresa Carreño

FOREWORD

CHAPTER I: General Observations

on the Mechanism and Action of the Pedals

CHAPTER II: The Use of the Right Pedal in Chords

Examples 1–9

CHAPTER III: The Pedal and Its Use in Phrasing

Examples 10–13

CHAPTER IV: The Action and Effect of the Pedal on Rests or Pauses

Exampless 14–15

CHAPTER V: The Action of the Pedal in Extended Chords

Examples 16–30

CHAPTER VI: The Management of the Pedals in Passages of Thirds

Example 31

CHAPTER VII: The Different Degrees in Pressing the Right Pedal

Examples 32–35

CHAPTER VIII: The Use of the (Right) Pedal in Chord Passages, Chromatic and Otherwise

CONCEPTS OF PIANO PEDALING

The more I play, the more I am thoroughly convinced that the pedal is the soul of the piano. There are cases where the pedal is everything.

Anton Rubinstein

Anton Rubinstein and Teresa Carreño remain two of pianism’s legendary figures. Both still hold a charismatic fascination for musicians—Rubinstein as Liszt’s only possible rival on the concert stage, Carreño as the foremost woman pianist of the late nineteenth century. Together they form a tradition of pianism that has profoundly influenced performers to the present day. Above all, their treatment of pedaling is of the utmost importance, not only from an historical standpoint but for what it can still teach even the most sophisticated player today.

Concepts of piano pedaling evolved rapidly and drastically since the time of Johann Nepomuk Hummel (1778-1837), who is known to have used little or no pedal in his concerts—and termed it a sin-coverer! Even the now universally used legato or syncopated pedaling technique was until at least the last quarter of the nineteenth century still used infrequently, as opposed to an older form of so-called rhythmic pedaling, where the pedal was raised a split-second before a new change of harmony, then depressed simultaneously with it.

Moritz Rosenthal (1862–1946)—who had studied first with Karl Mikuli (Chopin’s student and colleague), than with Franz Liszt—had this to say about pedaling in the 15 October 1924 issue of the periodical Musical Life:

Anton Rubinstein was the first pianist I heard in public recital who used the pedal correctly. He originated the syncopated pedal. Every amateur knows today that the keys and pedal are not to be struck simultaneously. The tone is kept flowing by applying the pedal when the hands are raised, or there is no continuity of sound. Even Liszt achieved his triumphs in spite of a bad use of the pedal. The discovery of the syncopated pedal was the most important one in the history of playing. It was the emancipation of the wrist and arms from the keyboard. It brought an orchestral and cantilena playing that raised the piano to the highest rank among instruments.

Using specific examples from his recitals of 1885–6, Rubinstein’s approach to pedaling is closely examined in the now-legendary Guide to the Proper Use of the Pianoforte Pedals, which appeared

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