A musical
interpretation in any degree tolerable is out of the question. You
cannot call that art, it cannot even be called manual labor: it is a
freak of insanity!
A few words to the better sort of players. The foot-piece to the right
on the piano-forte raises the dampers, and in that way makes the tones
resound and sing, and takes from them the dryness, shortness, and want
of fulness, which is always the objection to the piano-forte, especially
to those of the earlier construction. This is certainly an advantage;
the more the tone of the piano-forte resembles singing, the more
beautiful it is. But, in order not to injure the distinctness and
detract from the clear phrasing of the performance, a very skilful and
prudent use of the pedal is necessary in rapid changes of harmony,
particularly in the middle and lower portion of the instrument.
You all use the pedal too much and too often, especially on large, fine
concert pianos of the new construction, which, with their heavy
stringing, have in themselves a fuller, more vibrating tone; at least
you do not let it fall frequently enough, and with precision.
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