By David Rowland
David Rowland lines the heritage 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 was once an important 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 during the method and track of composer-pianists comparable to Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The e-book additionally contains an appendix of translated extracts from 3 famous piano-pedaling tutors.
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Additional resources for A History of Pianoforte Pedalling
He was in London during the 1790s, a crucial period for the development of pedalling; and the fact that his name was grouped with Field and Cramer suggests that they too were influential in this area. Apart from these somewhat problematical comments about the London school, there is very little documentary evidence which gives us any insight into pedalling amongst early pianists in London. As far as we can tell, the worst excesses of Paris were avoided, although there must have been plenty of pianists whose techniques never reached the heights of Dussek's: One pedal is all that is necessary, namely, to raise the dampers while tuning.
6 Despite its capabilities the pantalon had two major drawbacks: it was expensive to maintain and particularly difficult to play. 7 Nevertheless, the curiosity value of the instrument ensured a profitable touring career for some, such as Noelli, who visited Italy, France, Denmark, Sweden and England. 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.
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). Rieger summed up the position well in 1820: Steibelt is the only author whose pieces have been composed expressly for the use of the pedals . . 34 Looking back on the period, Chaulieu expressed some reservations because of the use to which the pedals were put: It was also at this time that the tremolo was born; the use of the pedals was pushed to extremes and, while one believed to have found a pedal imitating the harp, another 36 Pedalling and the early pianists proudly believed to have imitated the bassoon.
A History of Pianoforte Pedalling by David Rowland