Much of the piece has an unsettled, brooding quality, with scattered piano pitches accumulating over sustaining pedal into dissonant clouds.
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But her phrasing was so sensitive to the shape of the line and shifts of harmony that she won me over, as she did with her use of the sustaining pedal to create milky textures.
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This requires reconceiving the music for the modern piano in terms of sound, articulation, the use of the sustaining pedal and, especially, dynamics, since the piano has a far greater range of soft to loud than the harpsichord.
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While the vast majority of these pieces would have originally been played on a harpsichord, Mr. Debargue, 19803, recorded this set on a Bösendorfer grand — but without any use of the sustaining pedal, resulting in a bright, clean sound with a pearl's soft, coolish smoothness.
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The term "sostenuto" is perhaps not the best descriptive term for what this pedal actually does. Sostenuto in Italian means sustained. This definition alone would make it sound as if the sostenuto pedal accomplishes the same thing as the damper, or "sustaining" pedal. The sostenuto pedal was originally called the "tone-sustaining" pedal.
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Allegro :::5. Preludio: Andante tranquillo :::6. Nach Mozart: Adagio :::7. With the use of the third pedal (Steinway & Sons Sustaining- Pedal): Andantino tranquillo :^ Perpetuum mobile, 'nach des Concertino II. Satz Op. 54' (Perpetuum mobile, after the second movement of the Concertino Op. 54) (1922) BV 293 :^ Prélude et Étude en Arpèges (Prelude and Etude in Arpeggios) (1923) BV 297 ::Marc- André Hamelin, piano Bach-Busoni.
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Donald Rosenberg, writing for Gramophone Magazine, writes that "She scales her Bach to the rhythmic, structural and sonic needs of the music, without touching the sustaining pedal." James Oestreich, reviewing for The New York Times, reported that Ishizaka is a "gifted and obviously devoted Bachian" and that she "performed the 24 preludes and fugues of Book 1 from memory and without major flaw". In April 2015, Ishizaka began another Kickstarter-funded project to record Chopin's 24 préludes on an 1842 Pleyel piano. The recordings were released under a Creative Commons license.
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Andrés Bello's Érard piano in "Museo del Carmen de Maipú", Chile Érard's grand piano action (English patent no 4,631, 1821) is the predecessor to those used in modern grands. The repetition lever in these "double escapement" actions allows notes to be repeated more easily than in single actions. It is just one of many Érard innovations still found on modern pianos - for example, Érard was the first maker in Paris to fit pedals on the piano, and his instrument had several pedals. There was the usual sustaining pedal, an action shift, a celeste, and a bassoon pedal (which put leather against the strings to make them buzz).
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He argues instead for finding the tempo from within the music, especially from its harmony and harmonic rhythm. He has reflected this in the general tempi chosen in his recording of Beethoven's symphonies, usually adhering to early-twentieth-century practices. He has not been influenced by the faster tempos chosen by other conductors such as David Zinman and authentic movement advocate Roger Norrington. In his recording of The Well-Tempered Clavier, Barenboim makes frequent use of the right-foot sustaining pedal, a device absent from the keyboard instruments of Bach's time (although the harpsichord was highly resonant), producing a sonority very different from the "dry" and often staccato sound favoured by Glenn Gould.
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Piano pedals from left to right: soft pedal, sostenuto pedal and sustain pedal keyboard of the piano Piano pedals are foot-operated levers at the base of a piano that change the instrument's sound in various ways. Modern pianos usually have three pedals, from left to right, the soft pedal (or una corda), the sostenuto pedal, and the sustaining pedal (or damper pedal). Some pianos omit the sostenuto pedal, or have a middle pedal with a different purpose such as a muting function also known as silent piano. The development of the piano's pedals is an evolution that began from the very earliest days of the piano, and continued through the late 19th century.
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The organ, because of the full tone and sometimes massive sound, as in, for example, Toccata and Fugue in D minor, and, in addition, the use of the feet with the pedalboard, presents a particular challenge in piano transcription. Busoni wrote a 36-page essay "On the Transcription of Bach's Organ Works for the Pianoforte" which appeared as the First Appendix to Volume I of the Klavierwerke, originally published in 1894. Topics covered include (1) doublings: simple doubling of the pedal-part (five types), simple doubling of the manual-parts, doubling in the octave of all pedal- and manual-parts, tripling in octaves; (2) registration; (3) additions, omissions, liberties; (4) use of the piano-pedals: the damper-pedal (loud pedal), the soft pedal, the sustaining-pedal; interpretation (styles of playing); and supplementary: arrangements for two pianos and free adaptations.Busoni (1894), pp. 157-186.
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