The development of pedalling in Liszt’s piano music

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3.2 THE DEVELOPMENT OF PEDALLING IN LISZT’S PIANO MUSIC!

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When studying the pedalling of Liszt’s piano music, two kinds of sources are available: written documents (memories) of his contemporaries and scored pedal markings by the composer himself. Some aspects of the stylistic evolution in Liszt’s piano works were treated in the previous chapter. In observing both the changes in his pedalling, as well as the overall stylistic change in his compositions throughout his life, one can detect an identical evolution. As far as pedalling in Liszt’s piano works goes, the most remarkable difference between the early and late periods is the number of pedal markings. While the pedal markings in his early works are only occasional, and even when marked, quite sketchy, then in his late piano works, excluding a couple of pieces, the pedals are scored systematically in every work. The number of curious pedallings and confused effects-producing pedallings also increased during his lifetime. It is possible that in earlier periods, Liszt did not intend to shock the audience as an innovative composer, but as a virtuoso pianist. The uncommon pedal effects would not have supported this purpose. It may be pointed out that a pianist, planning pedalling for Liszt’s late works, would probably in most cases realize it in a similar way that Liszt himself would have done. !

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Performing the works of the young Liszt on the modern piano will usually not raise remarkable problems in the pedalling. Pedal remarks in the early works of Liszt are not exceptions, but the way of scoring them was quite occasional. In some pieces, such as in Huite variations (S.148) or in Walzer (S.208), no pedal remarks can be found. In the piano work Apparitions (S.

155), on the other hand, there are many pedal signs. Although most pedal markings from this period follow a pedalling characteristic to Romantic music, still in some early works some innovative pedal indications can be found that predict pedal effects typical to Liszt’s late music. !

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In cases where the composer has fixed the duration of the pedal into the score, the situation is quite clear: the performers should follow the composer’s indications. In many cases, when Liszt has fixed pedalling in the score, contemporary pianists would intuitively prefer a more frequent change

in pedallings than the composer intended. Most of these continuous, held pedals that span a whole melody are especially characteristic of the late music of Liszt. Melodies, which do not consist only of chord tones from the present harmony, and which are meant to be played under one pedal, can also be detected in some earlier works. Usually these kinds of pedallings of melodies are not as long and sustained in his earlier works as in the late works. In the Concert study Waldesrauschen (S.145), a situation can be observed where the melody in a lower register than the accompanying figure is held under one pedal throughout the measure (Example 3.1). In Chapter 1.1, modern musical aesthetics are discussed. It attributes higher value to the exactness and clarity of sound, including pedalling.I suppose that unlike the pianists of Liszt’s day, most of the present-day pianists would release the pedal in Bar 5 of Waldesrauschen at the beginning of the second half of the bar, if the score does not provide any additional information about the composer’s pedal indications. !

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Example 3.1 Bar 5 from the Concert study Waldesrauschen by F. Liszt.!

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Although not all of the melody’s tones belong to the D-flat major chord, no remarkable dissonance results. For modern piano, the lack of a linear melodic line seems to be more problematic, because the melody tones do not decrease/fade on the modern instrument as quickly as on the historical instrument.The simplest way to achieve better linearity in the melody in bar 5 of Waldesrauschen would be to make a small crescendo during the first half of this bar. !

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In Apparitions (1834) we can find pedal indications that produce a much more confused sound. In this example (3.2) several different harmonies follow each other in succession, while the pedal should remain depressed during all these harmonies. In studying the pedal indications of Liszt’s piano

works, the principle of mixing several harmonies with the pedal is not typical. A long pedal over several diatonic or chromatic melody tones is much more common. In the Example 3.2 Liszt combines these two pedalling practices, sustaining the changing harmonies and blurring chromatic melody tones. !

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Example 3.2 Bar 51 from Apparitions by F. Liszt.!

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One famous example of an extremely long pedal is in the work Après une lecture du Dante (S.161). The ¹ Dante Sonata is a well-known work and probably every pianist who has performed this piece has encountered these problematic pedal markings. It has been mentioned previously that the sustaining of different harmonies under one pedal is not a typical pedal effect for Liszt. At first glance, it seems that in this example Liszt, as opposed to his usual practice, mixed many different harmonies together with the depressed pedal. It seems that during the first four bars of this example, 20 changes in harmony under the same pedal can be detected, all of them placed in a rather low register. In further analysis of these four bars of the Dante Sonata, a curious phenomenon can be found.!

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When examining Example 3.3 more closely we can see that if we exclude the chromatic melody in the right hand (doubled also in the left hand), the

The first version of so called Dante Sonata was written as early as 1839, the final

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around 1850. The original title of the piece in 1849 when it was given its final form was Fantasia quasi Sonata (Prolegomènes zu Dantes Göttlicher Comödie). The fact that the curious pedal effects which are typical to Liszt’s late works appear also in some of the works of earlier periods demonstrates that the stylistic division of Liszt’s music into early and late works by the date of composition is problematic.

only harmony that sounds during these five bars is d minor. While the d-minor chord sounds in the background, the curious blurred sound effect mentioned above is produced by this chromatic melody. In Example 3.3 we can detect that every chord in the left hand includes at least two chord tones of the d minor triad. At the same time the octaves in the right hand and the lower voice of the left hand chords form a chromatic melody, which consists of the chord notes and the passing-notes of the d minor harmony.!

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Example 3.3 Bars 35-39 from Après une lecture du Dante by F. Liszt.!

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When dealing with the pedalling in this part of the Dante Sonata, the most difficult task is achieving clarity in the texture, so that the audience can recognise the pitch of each tone. The intention of the composer has probably been to achieve an agitated and confused character in the music. At the same time the pianist must avoid the sum of indefinite sounds. The pedalling of the chromatic melody in a rather low register produces indistinct blurring, especially on the modern piano. In order to clarify the sounds in the this phrase, the performer has to minimise all the factors that produce blurring in the sound. A possible solution could be to play the duplicated melody in the left hand as softly as possible. The shape of this melody can be heard anyway in the right hand. !

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As has been mentioned above, the kind of pedal effects presented in Examples 3.2 and 3.3 are more characteristic for Liszt’s late music than for earlier works. At the same time, some radical pedal effects can also be found in many late works, which are in stylistically rather traditional. In other words, the connection between the use of long pedal effects and the stylistic development of Liszt’s music style is not evident.

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In document Pedalling liszt's works on the modern piano (sivua 42-46)