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A History of Pianoforte Pedalling
 
 
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A History of Pianoforte Pedalling [Hardcover]

David Rowland (Author)

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"Although this is admittedly a highly specialized study, it is one that should not be neglected by musical historians, or by pianists who are interested in improving their understanding of the music of the past." Notes

"Rowland has done a great service by gathering together all of the 'hard' evidence: quotations from treatises, descriptions of performances, students' accounts, and musical examples with composers' pedal markings. Pianists will find much that is fascinating ..." Early Keyboard Journal

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David Rowland traces the history of piano pedaling from its beginnings in the eighteenth century to its first maturity in the middle of the nineteenth century and beyond. Pedaling technique was a major feature of nineteenth-century piano performance and, coupled with new developments in piano structure, inspired many composers to write innovative works for the literature. Rowland examines this through the technique and music of composer-pianists such as Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano. The book also includes an appendix of translated extracts from three well-known piano-pedaling tutors.
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The history of the piano begins in Italy. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Amazon.com: 5.0 out of 5 stars (1 customer review)

2 of 2 people found the following review helpful
5.0 out of 5 stars Much Needed Research, Dec 5 2000
By Anne Alleva - Published on Amazon.com
This review is from: A History of Pianoforte Pedalling (Hardcover)
David Rowland provides the historian and piano enthusiast with much needed research into an important, but often neglected, area of musical performance practice. In this concise but powerful book, the author traces the transition in preferred musical instruments from the harpsichord to the clavichord to the piano in the 18th century. Documentary evidence of Mozart and his contemporaries is offered, as well as chapters on pedaling by 18th century and early 19th century piano tutors. The appendix contains translations of methods by J. P. Milchneyer (1797),Louis Adams (1804) and Daniel Steibelt (1809). Since early pedal markings are often confusing or nonexitent, this work provides much needed guidance for the pianist, teacher or historical researcher.
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