By David Rowland
David Rowland strains 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 used to be an enormous 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 throughout the approach and song of composer-pianists equivalent to Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The publication additionally comprises an appendix of translated extracts from 3 recognized piano-pedaling tutors.
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Extra resources for A History of Pianoforte Pedalling
Clementi seems to have been somewhat alone in his cautious treatment of the pedals amongst members of the London school. But what about the other 40 Pedalling and the early pianists members of the school? Perhaps most noteworthy of all is the inclusion of Dussek's name in the lists of its leading members. We have already seen how Dussek's use of the pedal was admired when he returned to Paris in 1807 earlier in this section, and there seems little doubt that he was one of the earliest masters of pedalling.
48 Czerny was clearly wrong when he asserted that Clementi could not have used the pedal 'as it was not then invented3; but what would have been the source of this assertion? Did Czerny as a young protege in Vienna hear Clementi play when the latter passed through on his travels in the early years of the nineteenth century, or was he relying on the evidence of dementi's published music? 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.
Noelli's career ended in the early 1780s, by which time the pantalon had enjoyed almost a century of exposure in the musical centres of Europe. Documentary accounts of early pedalling 31 Schroter was the first to acknowledge the piano's indebtedness to the pantalon. 8 The result was two different actions: one in which the hammers struck the strings from below, the other a down-striking action. The second he called a pantalon, a name which was applied to many smaller pianos in Germany for the rest of the century.
A History of Pianoforte Pedalling by David Rowland