The Art of Piano Pedaling: Two Classic GuidesCourier Corporation, 1 ene 2003 - 77 páginas 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. |
Índice
PREFACE | 3 |
The Functions of the Pedal | 9 |
The Primary Pedal | 23 |
Use of the Pedal in Harmonic Figures | 32 |
Términos y frases comunes
Adagio agitato Andante Anton Rubinstein artistic available in France Ballade bass note Beethoven Breitkopf & Härtel Breitkopf and Härtel Chapter Chopin chord passages chromatic chromatic scale composer corda crescendo dampers Dover Etude Example EXTENDED CHORDS Fantaisie fingers foot France or Germany Franz Function 15 harmonic figure harmony Härtel edition instrument keyboard left pedal legato Liszt lower note maestoso manner MECHANISM AND ACTION melody Moderato motion Nikolay Rubinstein note or chord octaves passages of chords pedal effects PEDAL IN CHORDS PEDAL IN EXTENDED pedal is employed phrase pianist PIANO MUSIC pianoforte played Polonaise pressing the pedal pressure Presto produce release resonance right pedal ROBERT SCHUMANN scale passage Schubert Schumann secondary pedal simultaneously SOLO PIANO Sonate sonority sostenuto sound staccato strings struck tempo Teresa Carreño tonal tone color tone effect Tremulo Half Pedal una corda upper Valse volume of tone