Hi folks

In my piano pieces I have had many issues with Mozart pieces about what pedalling is appropriate. I remember the Fantasie in D Minor, and last year for grade 6 I did Andante Amoroso (A:3). I am now doing the Allemande from the new grade 7 book.

My teacher usually suggests "touches" of pedal in Mozart. Would Mozart have advocated much pedalling in his music. Is anyone else playing or teaching the Allemande just now? In the first page, I tried playing entirely without sustain pedal and working on legato fingering, exept bar 1, and bars 6 and 7, but again, only a little. Much the same applied to the other Mozart ones I mentioned above.

Any thoughts?

I would agree with your teacher. Personally I don't like too much pedalling in Mozart and my teacher always told me to use the pedal sparingly! NO doubt others will disagree!

I would also agree that generally in Mozart one should only use touches of pedal occasionally. I think it's fine to use it to 'enhance' certain passages but one should try to use finger legato as much as possible to retain that bright, sparkling tone that is so characteristic of Mozart.

I've also heard that as a rule of thumb, if the listener can tell you're using pedal, you're using too much!

Also, if in doubt, perhaps having a listening to a recording will help clarify any points you're unsure of.

Mrs M

You will hear as many views about pedalling Mozart’s piano music. Here is mine, for what it is worth. It is neither conclusive, astoundingly knowledgeable or even finalised in my mind.

The true purpose of the sustaining pedal is to enrich the tone quality we produce when playing. It also allows us to create legato in otherwise impossible situations, but this is not its primary function.

Try a couple of experiments to illustrate what I mean.

Sit at the piano. Press and hold the sustaining pedal. Play a moderately loud 6 or 7 note chord and listen to the sound. After a couple of seconds, continue holding down the keys but let go the pedal. You will hear the sound thin out immediately. What happens when you strike a chord with the sustaining pedal down is that all the rest of the strings also vibrate, adding their richness to the tone. As soon as you release the pedal, these vibrations stop and you are left with only the sound of the fingered chord. This has huge implications for tone production and colour.

Then dig out your copy of the D minor Fantasy and go to the main melody that starts after the opening triplet section. Play it first of all without pedal, using finger legato only. Then play it again with a legato pedal change on every quaver. Use no rh finger legato at all, but caress each of the keys with your middle finger. Use the whole of your arm with a free, fluid action – use the sort of movement you would use to stroke your girl friend’s hair if you are not familiar with this kind of arm movement to control the tone. If you get the movement right, you will hear an added richness to the sound that you cannot get relying on finger legato alone and without using the pedal. Each note will have an extra ring to it that sounds absolutely beautiful. Go back to playing the ‘old way’ and the sound will be duller.

I have played Mozart sonatas in recitals throughout my career – there are only a couple I have not performed. My ideas about pedal use have evolved throughout. No doubt they will continue to do so. I always pedal slow movements; I want the added richness in the tone. I usually pedal arpeggiosbroken chords although not always; depends on the effect I am trying to create. I rarely pedal scale passages because blurring adjacent notes in Mozart is not usually a good idea, although there are exceptions even there. I use far less pedal in the quick movements, although a lyrical second subject often benefits from it.

I cannot comment about the Allemande; I am unfamiliar with the suite and do not have a copy. I suggest you experiment, seek advice from anyone who can offer it and then make up your own mind. The most important thing is the tone quality, so listen to the sound you are creating. We pedal with our ears; our feet only waggle up and down in response to what we hear.

Enjoy the Mozart.

QUOTE (SteveHopwood @ May 19 2005, 02:48 PM)

We pedal with our ears; our feet only waggle up and down in response to what we hear.

hehe... well put and made me laugh. I guess the same goes for all the different technical possibilities on all instruments.

QUOTE (sarah-flute @ May 19 2005, 02:51 PM)

QUOTE (SteveHopwood @ May 19 2005, 02:48 PM) We pedal with our ears; our feet only waggle up and down in response to what we hear. hehe... well put and made me laugh. I guess the same goes for all the different technical possibilities on all instruments.

Actually Sarah, I go further. I just didn't want to admit to being utterly bonkers here.

Standard question to pupil adopting a stance of at least temporary deafness: "Now think about your answer. This is a trick question. With what do we play a musical instrument. Any musical instrument."

There follows the usual round of fingers, arms, feet(!), brain(!!). Eventually, I will be able to lead my victim to the point I am making, so I finish with, "Exactly. Brilliant. Well done. Dead right. We play with our ears. Our fingers arms and feet only waggle up and down in response to what we hear."

So now you know the truth. I am a certifiable fruit-cake. Don't tell anybody else.

QUOTE (SteveHopwood @ May 19 2005, 03:02 PM)

So now you know the truth. I am a certifiable fruit-cake. Don't tell anybody else.

You think folks round here would see that as a bad thing...?

Thought it was practically a requirement on here....