Piano World Home Page Forums Our Most Popular Forums Pianist Corner Rachmaninoff op 32 no 10 - una corda?

Ok, so I've been working on this gorgeous prelude for a bit and I absolutely adore it... and yet today I played it to my teacher who literally freaked out and started screaming at me because I had used una corda in some sections (for example in poco piu mosso section on first page) to make sound more 'mystical', and I am sure I prefer the way it sounds with than without una corda... However she just became so offensive and made me play it without una corda, so I did it and in the end she was happy... I don't know what I should think - do you guys think I should listen to my teacher and play the prelude without una corda or play it the way I like?

Thank you

If she screams at the use of the una corda, what does she do when you do something really seriously wrong haha? Did she expalin her thoughts on why she thought the una corda was inappropriate?

Since we obviously don't all use the same editions the "Poco piu mosso" is not on the first page in both of my editions, but that's neither here nor there except that it points out that such references should be made by bar (measure) numbers so that we all know where you are exactly in the text.

The "Poco piu mosso" in my editions is marked mf, so I don't quite understand why you would want to use the una corda at that point, nor what convinces you that it should be "more mystical." Three measures later it is marked pp so there might be a place where the una corda could be considered.

What concerns me even more would be working with a teacher who "freaks out" and "starts screaming" and becomes "offensive" when a student is experimenting with sonorities, whether those experiments concur with the text or not.

What kind of teacher uses screaming and being offensive as pedagogy?

Regards,

A Russian one lol. Just kidding, she does knows what she's doing, it's just that she wants me to play exactly the same she would do it so...




Hmm well, I used the una corda in a few different spots, for example in bar 18, until the 4th triplet which I obviously played with a lot more powerful sound (without una corda of course).

I don't see this as a piece that calls for una corda. It doesn't work with the almost non-stop bell effects, you lose the clarity of delivery if they are muffled. Maybe some passages in 32/12.

I had a terrific teacher who demanded that whenever I wanted to use una corda, I should not use una corda and try to get that effect using just my fingers instead. It really changed the way I thought about how I got sound with my fingers. I think it's a very valuable exercise.
Una corda has now become more of a choice based on the individual characteristics of the piano I'm on at the time.

You didn't ask but IMHO teachers should not become offensive or scream. But it may work for you.

>do you guys think I should listen to my teacher and play the prelude without una corda or play it the way I like?

Depends. In the end it's your call. But if you want to learn something, you should try to follow your teacher's advices.

That's another thing that bothers me about what you say about her teaching. Are you referring to just this instance where she wants you to play without una corda because that what she wants (seems to be a consensus anyway), or does she ask that you play everything exactly as she would play? That certainly is not teaching the pianist to think for himself and develop some sense of appropriate artistic individuality.

How dull the music world would be if everyone played as everyone else does!

Regards,

Fixed this for you.

Hey all Thank you for all your replies.

Indeed, it is not necessarily the best teaching method, but what can you do... Anyway, I had another lesson today and once again I used una corda, this time I refused to play the way she wanted me to... and surprisingly she did not overreact - guess she will have to accept the fact I don't always agree with her musical ideas - maybe I'm wrong but I just can't force myself to play something the way I don't enjoy o.o

Artur Rubinstein attempted to answer in a video interview that the secret of his lauded "tone" was the una corda pedal. I have no idea what he meant, other than to guess that he may have employed it liberally in passages that are not "soft".

There has often been references to Rubinstein's use of the una corda, even, as you say, when "soft" playing is not indicated in the score. I have not, however, read any authoritative source for this information.

Regards,

I agree with this. The piano has a big impact on whether you use it.

I played this Prelude today in church to test myself out, because how better to do it than in performance? It turned out that I absolutely needed una corda in the pianissimo section that follows the fortissimo climax, on that piano and very possibly on every piano. It only lasts a few bars, but the absolute contrast makes that moment amazing.

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in the pianissimo section that follows the fortissimo climax [/quote]

Yes, I used una corda there, before the powerful chordal section

That is really strange for a piano instructor to do that. I would be afraid to go to the lessons if I had someone like that.... Anyway, I have the URTEXT edition by G. Henle Verlag and it clearly notes una corda in measures 16 and 17 for example.

Does your instructor insist on URTEXT versions? Mine never did but always said to use the original. URTEXT versions ensure originality because they are researched back to original archives, and done by masters in their field. I didn't learn about URTEXT versions until I moved to Germany in 1989 and discovered them. They are amazing versions!

That's interesting. I have three versions from varying sources and none indicate una corda. I generally use urtext versions myself (but I can't be sure in this case as two versions are from online sources and the other is a 70 year old A. Gutheil edition).

Edit - the A. Gutheil edition is clearly not URTEXT/Henle

just about 'una corda', not the Rachmaninov prelude (where I wouldn't use it): one of my teachers suggested the use of the left pedal together with playing forte, an idea I never forgot and still use to date.

I sometimes cringe when I hear the uno corda pedal used when its not called for. It does depend a lot on the instrument but I can hear the "muffled" effect (for lack of a better word) and know that its use has just cut off a range of harmonics that adversely affect the quality of tone. Some can partially apply the pedal in the case where the hammers have become too hard in the grooves and try to have the softer part strike the strings. Of course there is music where the entire effect of the pedal is called for and I don't mind hearing it used as the composer has indicated.

To each their own I suppose. I still come across many whose teachers recommend its use because the player is unable to play softly with their hands and fingers alone. Its not just a "soft" lever and the students should be made aware of its mechanism and what it does to the overall tone quality.

My 1919 era Mason & Hamlin has that effect, where if you partially apply una corda it has a completely different tone. Some notes sound almost like a fortepiano or even harpsichordy (that's a new word!). I love the effect and use it quite a bit. It's a little fuzzy sounding, like something is rubbing the strings. It's hard to find the sweet spot. I've only heard one other piano with that effect.