edited through Joseph Banowetz and Brian Mann.

edited through Joseph Banowetz and Brian Mann. Dover Publications, Inc. (31 E 2nd St Mineola, NY 11501) 2003 77 pp $1195

The introductions written on Joseph Banowetz and Brian Mann are important additions to this whirl They provide a brief, now enlightening, historical perspective of pedal use prior to the publication of these brace guides.

Originally written in Russian in 1886 by way of a student of Anton Rubinstein's brother Nikolai, the Guide to the correct Use of the Pianoforte Pedals is a reproduction of tile 1897 English translation from the German edition, and is a fascinating period pedagogical contemplation Using specific examples from Anton Rubinstein recitals of 1885-1886 as its point of departure, the Guide put forwards readers a nuts-and-bolts approach to the "new" pedaling universals from 1886. Chapter One identifies sixteen separate "Functions" (or theorems) for pedal use, followed according to brief definitions of "primary" and "secondary" pedal techniques, which are now referr to respectively as "simultaneous" and "syncopated" pedal. succeeding chapters provide in-depth commentary explaining the musical reasons for using the hinted pedal techniques, and interspersed from first to last the chapters are interesting "Remarks" referencing Rubinstein's devise performance practices. Provided throughout the Guide are an abundance of musical examples quoteed from advanced repertoire, each with the pedal changes explicitly indicated. The writing manner is dense and requires serious consideration to glean the wealth of information it has to show One caveat is in order: when incorporating certain glance ated techniques (specifically half-pedaling), sensitivity to the acoustic improvements of the modern-day piano is critically important.

Also published as a reproduction, Teresa Carreno's guide Possibilities of Tone Color at Artistic Use of Pedals is les pedantic than is the Rubinstein Guide. Published by way of her student in 1919, the compass ends rather abruptly due to Carreno's quickly prepared death in 1917. The writing manner of writing is that of a teacher explaining in illuminatingly clear detail for what cause to first work out the insinuating mechanics of pedaling, examining up to four deepness levels each with a specific musical meaning and then moving on to to what extent to properly use the fingers and the arm to create the "correct" perfect Her dissertation on pedal use in fill outed chords is excellent. Also drawing from advanced repertoire, the musical-pedal examples are not absented more as tools to evolve listening skills and guide observers to discover their own artistic approach to incorporating the pedal techniques described in each chapter. As Madame Carreno stated, "If a close examiner does not work out the pedal tenors for herself, after all I indicate her on the subject, she is hopeless!" Reviewed on Steven Hall, Richardson, Texas.

...

Home