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 was once a big characteristic of nineteenth-century piano functionality and, coupled with new advancements in piano constitution, encouraged many composers to jot down leading edge works for the literature. Rowland examines this throughout the process and song of composer-pianists similar to Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The booklet additionally comprises an appendix of translated extracts from 3 famous piano-pedaling tutors.
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Extra info for A History of Pianoforte Pedalling
Steibelt may have been guilty of excessive zeal in his promotion of the pedals, but he was also praised for his pedalling on occasion by some of the severest critics of pedalling excesses: He played the grand adagio from op. 42 In his own treatise of 1809, Steibelt concentrated on a more serious use of the pedals: A sure art of striking the keys and bending the ringers, a truly characteristic use of the registers (Zw) (mutations of tone by means of the pedal), otherwise little used and of which I was the first to demonstrate the advantages, give the instrument a quite different expression.
Other, no doubt cheaper, models just have two - lute and damper raising. Louis Adam also comments on the various dispositions of French squares at the beginning of the nineteenth century in his tutor (see the Appendix, p. 170). 1850 By the middle of the nineteenth century piano design throughout Europe had become more standardised than at any point in its history previously. The 'Viennese' action had all but disappeared, making way for the 'English' action in the majority of grand pianos across the continent.
In view of the great number of tutors published in Europe at the time it is perhaps surprising to find so few references to pedalling, and those that do occur are generally not at all specific about matters of technique. Indeed, before about 1820 only three keyboard tutors discuss stops, levers or pedals in any detail; those by Milchmeyer (1797), Adam (1804) and Steibelt (1809). Each of these contains a chapter or section on the subject which appears in translation in the Appendix to this volume.
A History of Pianoforte Pedalling by David Rowland