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 perfor... read more
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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.
Reprint of Guide to the Proper Use of the Pianoforte Pedals with Examples out of the Historical Concerts of Anton Rubinstein, Bosworth & Co., Paris, 1897, and Possibilities of Tone Color by Artistic Use of Pedals, The John Church Co., Cincinnati, 1919.
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