Piano World Home Page Forums Our Most Popular Forums Pianist Corner Using pedal in Baroque pieces

Of course, it is not as good to use pedal in Baroque music to cover an inadequate technique, in which the final result sounds inferior to playing the same passage without pedal but with an adequate technique. That should be self evident.

I would also add that if you are an artist at the level of Andras Schiff, and you decide to not use pedal in Bach, it is not out of laziness. Of course, the link to the Schiff playing the E major French Suite is on a piano with exceptional sustain, in a very wet acoustic. You could play the same music on a piano with much less energy, in a dry room, and use lots of pedal ( controlled, not random.........) and it might sound more dry than the link to Schiff. That is why everyone who knows the first thing about pedaling says "use your ears". You don't just pedal the music, you pedal based on the piano and the room acoustic.

I submit that most who insist on not pedaling Bach or Baroque music in general do not do so with the same credibility as Schiff.

Bennevis made this point earlier about Baroque keyboard instruments having less effective, or non existant dampening mechanisms. Should one choose to consider the way Bach works on one of these instruments while playing it on the piano, using pedal can be argued to be more authentic. Ever hear Bach on an Organ in a Church with lots of reverberation?

It is as lazy to make a blanket decision to not use pedal in Bach as it is to not use dynamics in Bach. Hey, that authentic harpsichord can only play at one volume, so I'm gonna only use one volume when I play Bach on the piano. There is so much more color and expression available with good pedaling in Bach than with no pedaling in Bach. Good pedaling in Bach does not preclude any other type of technique such as finger legato, etc. It is in addition to it. Yes, it is bad to blur counterpoint by not changing the pedal often enough or by using full pedal when 1/2 or 1/4 pedal would be better. Thank god this thread cleared it up that bad pedaling is bad.

And it is better to sound better using fingers than using pedal. Just like it is better to sound better using pedal instead of not using pedal. LOL....I am kind of a sucker for getting roped into this discussion, but not pedaling in Bach on the piano and thinking that is just how it must be done is a bit of a pet peeve of mine.

BLARGH!

Well, the whole recording of the WTC from Barenboim serves my purpose. I bought it, listened to it a few times, never listened to it again. It sounds to me like Busoni 's or even Liszt's Bach transcripstions. Too many notes together, too much resonance. I think Bach must sound "dry" on the piano. That music is supposed to give the pianist nowhere to hide. The quicker the attack and the decay on the sounds, all that better for the contrapunctal passages, that's how i like it. I liked Barenboim' s essay on Bach interpretation on the booklet. Sure anyone can play Bach the way they want. But i just don t care for his (considering he s an amazing pianist). Nowhere near Hewitt, Gould, Schiff ...

You just have much better language skills than me. That's what i mean.

Exactly that.

IIRC, finger pedaling is authentic in Baroque and also Classical era music. But issues of authenticity are put into a strangely ambiguous position when using the piano to perform Baroque, since the piano itself is not authentic.

The reverse of finger pedaling is also authentic, where notes are not held to their full value. I believe that C.P.E Bach talks about that practice. Another practice was the re-striking as needed of long-held notes to carry the tone.

The issue of legato playing has become more and more interesting to me, because it seems it is much more the norm these days than it was in the past. A while ago, someone posted a link to an article by Saint-Saens from the early 20th century in which he went on an anti-legato tear, saying he was old enough to remember that the incessant application of legato was something new, and he didn't like it. So apparently even within his lifetime, the style of playing had become much more legato-ized in general. I think that's still the standard, and I'm not sure why it is the case. To my ears, much music, but Baroque music in particular, often becomes more lively and interesting without the ever-present modern legato. Of course, to do that, pianists have to know how to make musical lines without relying on legato.

While it is true that the damping mechanisms of the early instruments you mention are not very efficient (or non-existent), I think the reason they aren't is because they didn't need to be. The decay of the tone was too fast to pose a problem, unlike the modern piano. As far as composers, performers, and listeners of the time depending on that lack of damping to connect notes, that idea is problematical because there was no control over which notes were not damped. For example, in fast polyphonic music, it's just a general background vibration.

Certainly in the case of fortepianos, the decay is much faster, but it's still noticeable that staccato notes don't sound very staccato, and detached notes not that detached. But even the Erards and Pleyels of Chopin's (and early-mid Liszt's) time had poor damping, and their decays weren't far off today's grands. I was at a lecture-recital given by Kenneth Hamilton two years ago, focusing on Liszt. He demonstrated on an Erard grand (c1850) a passage from Vallée d'Obermann to show how some of the effects Liszt probably intended (which today's pianists usually pedal through) are lost on a modern piano, because of its super-efficient damping.

On that note, I've played a Bechstein that was provided to Liszt for some concert or practice or something, and yes the pianos from that period were definitely very different.

I would say that maybe it's not the damping that's pronounced, but rather modern pianos have much more power yet the damping will hush that louder sound just as quickly, I guess it's the same as saying the damping is more efficient.

The hammers and action are also incredibly light on that piano, so I don't feel bad when I can't play at the indicated speeds at the top of the page.

Yes, but once you start talking fortepianos and later instruments, you have moved beyond what Bach used and knew throughout most of his life (I know - very late in his career, he had some tangential experience with early fortepianos).

My experience with my own clavichord is that it simply doesn't sustain notes with enough strength to make a legato connection between notes in the way that my grand piano does (and, incidentally, I've heard that the clavichord was Bach's favorite keyboard instrument). And it has no damping mechanism at all. So physically, it's the equivalent of playing a piano with the dampers continuously raised. But it sure doesn't sound at all like playing a modern grand with the sustain pedal engaged at all times.

Surely it's the reverse? The strings are totally damped by the listing. It's only when the tangent comes in contact with the string that it becomes 'undamped'.

You are right. I was thinking in terms of how the damper mechanism on a piano affects all of the notes, and got confused.

I think the point is still valid - the tone just doesn't sustain with enough strength to be compared to a modern piano.

Dare I disagree just a little? I find the clavichord best for vocal music because it sustains, in it's own miniature world, for just long enough to have a vocal effect. My favourite music is Josquin Des Prez's keyboard intabulations for that very reason. I don't think it's a coincidence Mozart composed the Magic Flute and Requiem on one or that Haydn composed the Seasons on his. Fast music, where the sustain isn't important, doesn't seem suit it.

To me, it isn't the sustained sound that makes it seem vocal, but the exquisite sensitivity to touch, which can mimic vocal inflection to an amazing degree.

+1. I also feel that baroque is very much about articulation and pedaling usually does not help for that. Maybe in a very few places, but mostly I feel pedaling does not help.

“So for all those instruments if you want to produce articulation or you want to produce a passage in legato, you have to achieve that with your fingers. Modern pianists very often cannot do that, because it’s very difficult. It’s a musical but also a technical problem. And when you push down the pedal, you create legato, and it covers up for it, and this is what I’m opposed to.”

I think this Schiff statement seems very exaggerated. No reasonable professional pianist uses a tons of pedal in Baroque and Classical composers. They don't hold down the pedal on scale passages. So I think that most pianists, especially the most advanced ones, have plenty of experience and skill playing legato only with their fingers. The only exceptions might be those who play very little Baroque or Classical music. Perhaps Schiff was thinking of certain Bach pieces(many voiced fugues?)where the legato requirements could be different from those in other Baroque pieces or in works by Mozart or Beethoven.

My opinion: pedal is not a problem when used well. I do use pedal in Bach. As others have said, use your ear, and do not get the harmonies blurred. I have used the sostenuto (middle) pedal when there is a pedal tone, and I find it effective, if ever you think that an extra octave below sounds nice.

For tone in slow parts of Bach's music, I feel pedal, when cleanly used, helps bring put more vocal tones. But most important, keep it clean.

I have played pretty much the whole of WTC I and II on organ, not to mention several of the movements of Art of the Fugue. Yes, you can indeed play Bach using only your fingers. But the piano is a difficult beast; I find it far easier to play most of his music on organ manuals than on a piano keyboard. Fingerings and combinations that I had stumbled over on the piano are suddenly easy and natural played on the great with 8' stops.. and I was exclusively a pianist until I suddenly had a job as a church organist.