Haskell Julie

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PEDALLING THE WORKS OF THE CLASSICAL ERA –BALANCING EFFECTIVE PEDAGOGY AND HISTORICALLY

INFORMED PERFORMANCE PRACTICE

Julie Haskell, Elder Conservatorium,

The University of Adelaide

Most elementary and intermediate classical works for piano may be playedentirely without pedal. However, if the pedal is to be used in advanced classicalworks, a refined pedal technique is required. Artistic use of the pedal requires notonly a finely nuanced pedal technique but also a clear understanding of theclassical style and its requirements. This paper will attempt to outline a strategy

for teaching the use of pedal in classical repertoire at the intermediate level,taking into consideration the articulation, phrasing and rhetorical element of this

music.

Recently when adjudicating I came across a performance of a littlepiece in the style of a classical piano sonatina. The teacher had obviously written in some pedalling and although I don’t have the music, it wassimilar to this Attwood Sonatina (see Ex.1) with a short rhythmic pedalindication on the first and third beat of every bar.

Ex.1

The performance was lovely and the pedal didn’t hinder theperformance at all but I did find myself asking two questions:

1. What was the pedalling here trying to achieve?2. Was it helping or hindering the student’s technical

development?

I will return to these questions a little later.

Stages for pedal technique

Generally pedalling is best taught to students when they have alreadydeveloped a good basic finger technique, good coordination betweenhands and good posture at the piano. It is not in the scope of this paper to


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cover in fine detail how pedalling can be taught but I will present a shortsummary of the steps. From my experience, I believe that it can be

developed in easy stages, as follows:

! The development of a good basic foot movement and posture at the

piano

This can take the form of using the pedal in elementary pieces wherethe pedal is used for a whole section or the entire piece to create alovely wash of colour.

! The development of foot and hand coordinationThis is where the student learns to separate the action of playing a noteand depressing the pedal. Developing this coordination is a vital step,ensuring that the two actions are not dependent on each other.Students should also be shown why this is absolutely necessary whenplaying legato with the fingers, so as not to cause blurring with

previously held notes.

! The development of legato pedalling Legato pedalling, sometimes called syncopated pedalling, requires a whole series of exercises culminating in the pedalling of legatopassages in pieces.

! The development of rhythmic pedalling Rhythmic pedalling, which is usually understood as pedalling exactly atthe same time as playing a note or chord, is useful for pedallingseparate chords and adding accents. Rhythmic pedalling is best leftuntil foot/hand coordination and legato pedalling are well established

Choice of repertoire when teaching the use of pedal

It is important to choose repertoire wisely when teaching the skillsnecessary in the acquisition of a good pedal technique. Generally pieces written specifically with a pedagogical aspect are useful to begin with –there have been many suitable pieces written in the last fifty years, but also

many of the small romantic piano miniatures are ideal for this purpose.

Most elementary and intermediate level music of the classical eradoes not require any pedal and is not suitable for use in the developmentof a pedal technique. Certainly one reason for this is that the damper

shifting mechanism found on pianos of the 18th century was slow in itsdevelopment. The first damper shifting mechanism was only able to beused for a whole passage as it was operated by a hand stop. The need formore flexibility saw the introduction of a knee lever. The piano that Mozartowned in the early 1780s had two knee levers as well as several hand stops1

but he never indicated pedal in any of his piano music. The foot pedal was

1 Rowland, p.18


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not a standard feature of the Viennese piano until around the beginningof the 19th century. On the other side of the English Channel, the

London school of composers was using the pedal or knee lever at least ten years earlier than in Vienna which influenced Haydn in his only use of the

pedal to be found in his penultimate piano sonata in C, Hob. XVI: 50, first

movement written in London, c. 1795.

Elementary and Intermediate level repertoire

At an elementary level (preliminary/first grade) students should bestarting to develop the ability to project and shape a melodic line, keep theaccompaniment soft, feel the strong beats of the metre and shape the endsof slurs by floating off. All of this is relevant to the classical style andpedalling is something that can easily distract the student from masteringthese other important aspects. Certainly when the pedal is not essential, I

suggest that it be not be used often in the early stages of piano studies.

If a student is to develop the pedalling skills necessary to be able tomanage advanced repertoire with refinement and stylistic understanding,this must gradually be developed through several years of careful study atthe intermediate level.

Rhythmic pedalling in Classical works

The first pedal use appropriate to classical repertoire for students is

rhythmic pedalling. This can be introduced in small sonatinas where thepedal is depressed at the same time as a chord is played and generallyreleased also together with the notes.

The most simple examples of this type of pedalling can be found atthe final cadence chords of expositions and recapitulations in many firstmovements of sonatinas and sonatas by Clementi, Haydn, Kuhlau andothers. This would be appropriate, for example in the final three chords ofthe Beethoven Sonatina in F, third movement (see Ex.2) as indicated in the Alfred volume 2 in the Masters of the Sonatina series.

Ex.2

By using pedal on these final cadential chords, students learn to playthem with a rounded tone. Everything must be done to avoid the so oftenheard “cadential peck” when students play these chords with a short,


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sharp staccato attack or even toss them off with light, flippant staccatothat is out of character in this context and does not match the rest of the

performance. This unfortunate approach is often not helped by editoriallyadded staccato dots.

One of the problems sometimes associated with rhythmic pedalling isthat students develop a total body movement whereby hands, foot, headand torso all move as one – this must be avoided. Generally final chords ofthis nature should be played with arm weight and a supple wrist while thefoot moves independently, not causing other extraneous movement.

Legato pedalling in intermediate Classical works

Legato pedalling, as we understand it today, had not yet beendeveloped during the classical period. In Vienna during the 18th century,

pedal use was not common, although its use in London was much moreadvanced. There, composers such as Clementi and especially Dussek2 were well known for their use of pedal, even though this was almost neverindicated in the score. It was generally understood that when the pedal was used, it would be changed as the harmonies began to blur. This wouldmost likely have been rhythmic pedalling as we know it. Kalkbrennerclaimed that Dussek invariably used the pedal while the harmonyremained unchanged, and kept the dampers almost constantly lifted whenhe played in public.3

In Vienna however, there was a general preference for a clearer, morearticulate sound. In fact, Kalkbrenner stated as late as 1830 that ‘in

Germany the use of the pedals is scarcely known’.4 It is interesting to notethat there were no instruction manuals written about pedalling eventhough there were many lengthy works written about playing keyboardinstruments.

On the other hand, we also have several secondary sources that detailBeethoven’s considerable pedal usage. Czerny remarked that ‘Beethoven

used the pedal much more than he indicated in his scores’

5

and Hummel’spartisans considered that Beethoven brought ‘only confusing noisethrough the use of the pedal’!6

Whilst certain sonatinas, especially the slow movements would mostlikely have been pedalled during the classical era, one needs to be cautious

2 Rowland, p. 403 Rowland, p. 384 Rowland, p. 405 Newman in Banowetz, p. 1466 Newman, p. 146


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when advising students about pedalling these works, for example, in thesecond movement of the Clementi Sonatina in C, Op.36, No.1 (see Ex.4).

Ex.4

The combination of several bars of legato pedalling can sometimesprove more difficult for students, especially when there are gaps withoutpedal, scalic passages or faster changes of the pedal. An example of thiscan be found in the first movement of the Sonatina in G, Op.55, No. 2 byKuhlau. (see Ex.5) The use of discreet or intermittent pedalling can requireconsiderable development.

Ex.5

Yet another technique that can be employed with great effect is todepress the pedal only half way down, which adds only the upperharmonics and does not create an overwhelming fullness of sound. Thiscan be very suitable for these small works and is certainly worthdeveloping when a student is ready to cope with more sophisticated use ofthe pedal. In this second movement of the Kuhlau Sonatina in G, Op.55,No.2, (see Ex.6) I suggest the use of light pedalling, and then in a rhythmicsense, one pedal per bar, but releasing gradually towards the end of everybar.


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Ex.6

Unfortunately much confusion abounds when referring to what I call lightpedalling. The pedal can be used on a sliding scale from very light pedaluse where it is only slightly depressed, raising the dampers only slightlyfrom the strings, right through to a full pedal depression where thedampers are totally lifted from the strings. This ‘squeezing’ technique isusually reserved for advanced students, but can be taught at any level – itdepends on careful listening!

Elements of the classical style requiring careful consideration

When teaching a student to use the pedal in classical repertoire,several aspects must be taken into consideration. Articulation, especiallytwo note slurs, and the “normal” touch necessitate extreme caution in theuse of pedal. The sense of pulse with strong and lighter beats in a bar is

also an extremely aspect of classical performance which can be adverselyaffected clumsy pedal use.

rticulation

There were several important treatises written in the eighteenthcentury that need to be taken into consideration, two of which are perhapsmost appropriate to pianists: those of Carl Philipp Emanuel Bach and

Daniel G. Türk.

.

Legato playing as we understand it today was certainly not used whenHaydn and Mozart were writing their piano works. The “normal” touchaccording to C.P.E. Bach in his Versuch was half the length of the note,7 whereas 25 years on, Türk in his treatise suggests that this has becomethree quarters.8 It is well known that Mozart and Beethoven were familiar with the writing of CPE Bach and Beethoven even stressed the importanceof the Versuch and legato playing when teaching Czerny.9

7 Harrison, p. 418 Harrison, p. 419 Stanley, p. 21


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However, the normal touch as recommended by Clementi in histutor of 1801 is ‘the best rule is, to adhere chiefly to the legato; reservingthe staccato to give spirit occasionally to certain passages and to set off the

higher beauties of the legato’10

ppoggiaturas and the resolution of two note slurs

The light resolution of two-note slurs (appoggiaturas) is something thatcan often be disturbed by the use of pedal. In the AMEB grade 7 series 16 version of the Mozart Sonata in G, K 283 first movement (see Ex.7), the useof pedal on the 2nd beat of bar 5 is not really necessary because it addsemphasis to the resolution, which should be much softer.

Ex.7

In the CPE Bach Prussian Sonata in A, H 29, second movement, (seeEx.8) found in the AMEB grade 5 series 16 edition, there is similarlymarked pedal on the fourth beat of bar one, on the resolution of anappoggiatura. To use the pedal at this point is very difficult at thisintermediate level. While it might enable the pianist to fade gently ifexecuted with skill, it is more likely to introduce an undesired accent onthe resolution of this appoggiatura.

Ex.8ccentuation

10 Rosenblum, p. 154


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The execution of strong and weak beats in a bar is an essentialcomponent of any work written in the classical period. Türk writes about

this extensively in his treatise and it is also described carefully by CliveBrown in Classical and Romantic Performing Practice 1750-1900.11 In the AMEB grade 6 series 16 version of the finale of the Haydn E minor Sonata

Hob XVI: 34, (see Ex.9) there are editorial rhythmic pedal indications onevery beat. Whilst it could help to add buoyancy by highlighting the firstbeats, the pedal could tend to add undesired emphasis on the second and

weaker beat of each bar.

Ex.9

Likewise in AMEB grade 7 series 16 version of the Mozart Sonata in G,K283 first movement, (see Ex.10), editorial legato pedalling adds too muchemphasis to the second and third beats. In this example, some fingerpedalling would be appropriate to add warmth and sustain the bass notesslightly. This is something that C.P.E. Bach wrote about in his Essay,stating that the “slurred tones of broken chords should be held through by

the fingers” (See Ex.11: C.P.E. Bach, Essay on the True Art of PlayingKeyboard Instruments, page 155).

Ex.10

Ex.11

Upbeats also need to be carefully managed. In the Beethoven Waltz

11 Brown, p. 26


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in E flat (see Ex.12) it is difficult not to accentuate the upbeat if the pedalis used (as indicated in the Allans edition of the Beethoven Fifteen

Waltzes) and it would probably be much better to save the pedal for thefirst beat of the first bar. Also, a shorter pedal in this bar would enable the

pianist to manage the lighter second and third beats of the bar.

Ex.12

In the Menuetto I from the Mozart Sonata in E flat, K282, (see Ex.13)the pedalling here again accentuates the third beats when it is always thedownbeat that requires the emphasis (AMEB grade 5, series 16).

Ex.13

In classical performance, a diminuendo must be made leading to theend of a phrase; this is one stylistic aspect that is not always well servicedby the pedal indications found in some editions. In the Alfred EssentialKeyboard Repertoire edition of the Menuetto from the Sonata in D Op.10No.3 by Beethoven, (see Ex.14) the final chord of the line must be played

more softly than the chord in bar 15. The pedal in bar 16 only addsunnecessary emphasis.

Ex.14


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Why Use Pedal?

Returning to the questions posed at the beginning of this paper, we

can now be more specific about the aim of the pedalling in Example 1.

!

Did it help to sustain? – No. It only served to sustain the bass notes alittle but this could be done with finger pedalling although notusually at this elementary level.

! Did it help with the legato touch? – No.

! Did it add colour? – Yes, however, at the elementary level, it is moreimportant to develop good finger technique, pedal technique and

musical understanding.

!

Did it help with phrasing? – No.

! Did it help give emphasis or accentuation? – In fact, it gaveunnecessary accentuation on the second beats of the bar.

Understanding the reason for pedalling

Unfortunately it appears that many students today are taught to usethe pedal only by following precisely the pedal markings in the score. This

is fraught with problems for several reasons especially if the students don’tunderstand (1) how the pedal functions and/or (2) why they are using it. Also, at an advanced level, pedalling must be adapted for every instrumentand in every different venue according to the resonance of the instrumentin any particular acoustic.

The great inconsistency of pedal markings in anything but Urtexteditions, (which at least let us see what the composer intended), is bound

to cause confusion. One only has to look at the recent AMEB publicationsto see that the piano for leisure books have no pedal added in the classical works yet in the series 14, 15 and 16, editorial pedal markings abound.One must search carefully in the front of the book to find a paragraphstating that the pedalling is entirely editorial and may be altered as desired.

To give an example of this, the Beethoven Pathetique Sonata, Op. 13,first movement, found in the AMEB Piano for Leisure grade 8 book has nopedalling marked at all yet it is well known that Beethoven used the pedalquite considerably, even though he did not mark it in the score until Op.

26.


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In comparison, the AMEB grade 8 series 16 version of the Haydn Variations in E flat, Hob XVII:3 has abundant pedal indications (see

Ex.15). The work was written in the early 1770s when Haydn would mostlikely have played it on a clavichord or harpsichord.

Ex.15

The theme of this work is based on the Minuet from Haydn’s StringQuartet Op.9 No.2. If a full pedal is used here through the first bar, thesound built up is quite considerable and not really in keeping with thestyle of a Minuet or the texture of a string quartet.

Some subtle use of the pedal in this work played on the modern

piano is probably a very good idea, but by blindly following the pedalindicated in the score without any background knowledge or

understanding, students could easily produce a performance devoid of anysense of the classical style.

The difficulty when performing a work on the modern piano that wasoriginally written for clavichord or harpsichord is that it can quickly sounddry and wooden. Subtle light pedal is generally the best solution, and done with an understanding of the classical style this can produce a beautiful yetstylish performance. In addition to this, the pianist does need to be aware

of the rhetorical aspect of the music, the articulation and touch12 and thesense of pulse in this dance metre.

Many students throughout Australia learn their entire repertoire fromunreliable editions or publications that are over-edited. As we have seen,even the AMEB publications can be inconsistent, but teachers are oftenloathe to do anything different from what is indicated in the book, fearingthat the student will be penalized in the examination.

12 Rosenblum, chapter 5.


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Notation

The issue of how pedal was notated in the early nineteenth century

can sometimes be cause for concern. In his Für Elise WoO 59, Beethovendid not worry about dynamics or slurs but did mark the pedalling in detailthroughout the piece (see Ex.16).

Ex. 16

This pedalling is not actually legato pedalling although many pianistsassume that this is the case! It is true that the first pedal indications were

often quite erratic in their placement in the score and a standard systemhad not yet been developed. However, we also know as mentionedpreviously that legato pedalling was not the normal method of pedallinguntil much later in the 19th century. One could argue that Beethoven andother good pianists would have instinctively used legato pedalling as that isthe only “nice” way of using the pedal but not only are our pianosdifferent, so perhaps is our musical taste. The first documenteddescription of what may have been legato pedalling can be found inCzerny’s Complete Theoretical and Practical Piano Forte School of 1839.13

It is interesting to compare two other editions of this work: The AMEB Piano for Leisure series one version has legato pedalling indicated(see Ex.17).

13 Rosenblum, p. 106. Czerny’s directions are as follows “In theTremolando, the damper pedal is almost always necessary; but the pedalmust always be relinquished and resumed at every change of chord. Thequitting and resuming the pedal must be managed with the utmostrapidity, not to leave any perceptible chasm or interstice between thechords; and must take place strictly with the first note of each chord…. therapidly leaving and resuming the pedal must be practised, till we canmanage it almost without thinking of it; and till such passages …. sound asif the pedal was held down without interruption.”


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Ex.17

The Alfred edition edited by Palmer (see Ex.18) has slight gaps marked inthe pedalling. What is even more curious is the fact that yet anotherstudent edition published by Alfred has legato pedalling indicated!

Ex.18

Cadenzas and Improvisation

When writing about improvisation and ‘The Free Fantasia’ in 1762,Carl Philipp Emanuel Bach stated that “The undamped register of the

pianoforte is the most pleasing and, once the performer learns to observethe necessary precautions in the face of its reverberations, the mostdelightful for improvisation.”14

This does give us some idea that it was quite acceptable to use the

sustaining lever in passages of an improvised nature. The first mechanismsfound on the pianos of the mid 1700s had only lever so that could only beemployed for a whole passage. Gradually a knee lever followed, and Mozartfirst used this on a piano in 1777.15 The knee lever was actually verysensitive but it was soon to be replaced by a sustaining pedal, around the

beginning of the nineteenth century on ‘Viennese’ pianos.

The Mozart Fantasie in D minor K 397 (see Ex.19) contains passages which are in the style of a ‘free fantasia’. Although Mozart did not indicatepedal in these cadenza-like passages, we can safely assume that this wouldhave totally appropriate in the time. However, unlike the earlierinstruments where the dampers were left off the strings for a wholepassage, pianists should be encouraged to adjust the pedalling for the

14 CPE Bach, p. 43115 Rosenblum, p. 104


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tonal effects – perhaps using lighter pedalling or flutter pedalling toavoid a large build up of sound.

Ex.19

Judicious pedalling can highlight the rhetorical shaping of phrases,the sense of direction, punctuation and accentuation of the melodic lines.These characteristic features can also be totally obscured by indiscriminate

use of the pedal. As Bart van Oort pointed out in a masterclass,16

bar 10 ofthis cadenza consists of a series of appoggiaturas and should be played astwo note slurs. In other words, each group of two notes should be slurred,shaped with a diminuendo and slightly shortened on the second note.Pedal throughout this passage would obliterate this effect.

Pedalling is always safer in the higher registers, where it is less likelyto prevent clarity of articulation, or cause too much confusion of sound. Inthe instance of the first Presto in the Mozart Fantasie K 397 (see Ex.20)some light pedalling at the top of the descending scale could add sparkle

but the pedal would have to be released or fluttered as the scale reachesthe middle register of the piano. However, the ascending arpeggio at theend of the cadenza would benefit from some pedal use to sustain the bassand add harmonic substance.

Ex.20

Texture

16 Fortepiano Summer School, Middelburg, The Netherlands, July 2008


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Another aspect of classical writing that needs to be taken intoconsideration is the texture. A further example from the same Mozart

Fantasie (see Ex.21) highlights writing that is in the style of a stringquartet. To pedal through this passage only serves to blur the texture and

join the quavers in the right hand, although they are clearly meant to beseparated, in the rhetorical sense of the phrase shape and articulation.

Ex.21

Conclusion

To summarise, the use of pedal in classical works is something that

will take considerable time to develop. Students should first be taughtbasic pedalling skills using repertoire that is suited to this task. Theyshould also be taught a good understanding of the classical style withoutthe use of pedal. Only when the pedal technique and basic stylistic ideashave settled should the pedal gradually be incorporated into works of the

classical period. In addition, students should be made aware of the reasonbehind the chosen use of the pedal.

Finally, as with any music making, students should be encouraged to listencarefully to the result of their performance and adjust as they play. Goodpedalling is flexible pedalling, guided by understanding and a clear idea ofthe desired result.

About the Author

Julie Haskell studied piano in Melbourne with Jean McQuarie and Diana Weekes

and also held a scholarship with the Australian College of Education for 7 years from theage of 12. She was the winner of many prizes and awards, and performed as a finalist in

the ABC Instrumental and Vocal competition at the age of 15. Her tertiary studies tookplace at the Royal Conservatory of The Hague with Theo Bruins and later with Jacques deTiège.

Since returning to Australia in 1991, Julie has established herself as a leading

chamber musician, accompanist and teacher in Melbourne. She is a member of the pianostaff at the Faculty of Music, University of Melbourne and has also worked for many years

as an accompanist at ANAM. An AMEB examiner, Julie has presented workshopsthroughout South-East Asia and Australia and has adjudicated more than 30 eisteddfods.She has a special interest in the classical era and historical performance practice and iscurrently working on a PhD thesis studying the development of the use of pedal in the


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classical era.

Contact Details

Ms Julie Haskell [email protected]

References

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Haskell Julie

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