Employing Pedals in Baroque Keyboard Music: Feasible or Not?
## Unveiling the Evolution of Piano Pedals: A Historical Perspective
The modern piano, a staple in today's music world, boasts a trio of pedals that significantly enhance its sonic capabilities. However, these pedals - sustain, sostenuto, and una corda - were not always a part of the keyboard instrument's history. Let's delve into the fascinating journey of pedals in pianos, from their origins to their evolution.
The Baroque period, spanning from the late 1600s to the mid-1700s, marked the birth of numerous masterpieces by composers like Bach, Mozart, and Haydn. Interestingly, during this era, pedals as we know them today did not exist. Instead, a device known as the 'dumb spinet' was in use. This instrument, primarily employed by organ students for practice and to avoid disturbing others, could be coupled to the clavichord or harpsichord. The 'dumb spinet' was the closest precursor to the modern middle pedal (sostenuto), yet its use was limited, and its sound quality was not as refined.
Fast-forward to 1709, when Bartolomeo Cristofori, an Italian harpsichord maker, crafted the first gravicembalo col piano e forte - the precursor to the modern piano. This instrument featured a mechanism that allowed for a softer and louder sound, a significant step towards the development of the piano pedals we have today.
In 1825, Alpheus Babcock introduced the iron frame for the piano, paving the way for more substantial improvements. Subsequent modifications were made by Silbermann and Zumpe, further refining the fortepiano.
The sustain pedal, a crucial component of the modern piano, made its debut in 1726, when Cristofori introduced the left pedal 'una corda' for a muted effect of playing a single string. Although the sustain capability was present, its use in the Baroque style was avoided due to the emphasis on clarity in contrapuntal parts.
The sustain on early pianos was weaker compared to modern ones, but it could sustain selected notes, resembling the middle pedal (sostenuto) in modern pianos. However, the sustain capability and the ability to alter the tone on early pianos were not integrated into Bach's style of music.
The development of the pedal system took a significant leap in the 1780s, with innovations by Broadwood in London and Erard in Paris. These developments included the introduction of the una corda pedal and the sostenuto pedal, which allowed for more control over the sound.
In the 19th century, the use of the 'una corda' effect became more prominent, with composers like Beethoven incorporating it into their works. Meanwhile, the sustain pedal's capabilities evolved, providing a more robust and consistent sound.
In 1777, Beyer in London introduced a split-foot pedal, a precursor to the modern three-pedal system. This innovation allowed for more control over the sound, further enhancing the piano's versatility.
The argument could be made that Bach's music should not be played on the piano due to the absence of pedals during his lifetime. However, it is essential to remember that the piano was not the primary instrument during Bach's time, and his music was often composed for the clavichord or harpsichord, which had limited sustain.
In conclusion, the evolution of piano pedals has been a gradual process, spanning over three centuries. From the 'dumb spinet' of Bach's time to the sophisticated three-pedal system of modern pianos, each innovation has played a crucial role in shaping the piano as we know it today.
The Baroque period, lacking the modern piano's pedals, saw the employment of a 'dumb spinet' which was an early precursor to the middle pedal (sostenuto). Later, in the 18th century, when the first piano was created by Bartolomeo Cristofori, a left pedal named 'una corda' was introduced for a muted effect, which resembles one of the three pedals used in modern entertainment, specifically the music world.
