With the invention of the ‘Fortepiano’ in the period of classicism, where the clavichord and harpsichord were central, the compositions of the keyboard instrument compositions increased noticeably. As the compositions of the keyboard instrument compositions became more active, there have been many c...
With the invention of the ‘Fortepiano’ in the period of classicism, where the clavichord and harpsichord were central, the compositions of the keyboard instrument compositions increased noticeably. As the compositions of the keyboard instrument compositions became more active, there have been many changes to the musical instruments in order to improve the musical perfection and finally the modern piano was completed.
With the development of the musical instrument, the pedal has also undergone a significant change, and thus the modern piano, which is the completion of the keyboard instrument, has three pedals: a damper pedal, a sostenuto pedal, and a unacorda pedal. The pedal is mainly used to connect slur that can not be connected by hand, or to enhance the performance of the performance by expressing various aspects of the musical atmosphere according to the expression of dynamic, harmony and composition.
The development of these pedals is, on the other hand, one of the reasons for the difficulty in expressing classical music as a modern instrument. FortePiano, the keyboard instrument of the time, was different from the present, not only in appearance and tone, but also in playing techniques. In particular, the use of the pedal, which did not exist in the FortePiano, is a problem that should be considered when playing music of classical age, but it also becomes a tool to express the characteristics of the tone and classicalism which are not expressed by technique alone more easily with modern piano.
From this point of view, this paper examines the history of the classical musical instrument in Chapter 1, and the role of the pedal in Chapter 2, before discussing pedal technique in earnest. In Chapter 3, based on the contents of Chapters 1 and 2, the existing Haydn Sonata editions were collected and selected, and three representative versions were selected. We compared and analyzed dynamic expressions and pedaling on each score, and considered how to use the pedal that is suitable for a modern piano in the part where the pedal was not indicated due to the problem of the musical instrument at that time.
The Wiener Urtext Edition and G. Henle Verlag editions had no pedal sign except for the open pedal. The reason is presumed to reflect the intention of the composer and the characteristics of the instrument. However, when playing a version in consideration of only the times of the times, the performance was not smooth and the ease of the modern instrument, the piano, could not be fully utilized. Of course, some versions (Breitkopf & Hartel) have pedal markings, but the excessive pedaling did not completely solve the difficulty of applying age to modern instruments by creating a dissonance.
Due to the differences in pedal notation, the performance of the Haydn Sonata depends on the interpretation of the performer. Therefore, in this paper, F. J. Haydn Piano Sonata No. 60 in C Major, Hob. XVI: 50 I wanted to approach the ideal performance of the 1st movement. The use of a pedal that properly accommodates each edition allows legs that can not be touched by the hand and can be used to change the mood of the song in the composition or changing part of Mars, or to make it easier to express the sudden dynamic changes that occur during the performance .
In this way, it is necessary to selectively apply various pedal proposals to play the classical music with modern instruments. In order to do this, a detailed analysis of the song must first be made, and it will be necessary for the performer to take full advantage of the characteristics of the classical musical instrument and the advantages of the modern musical instrument based on a sufficient understanding of the age.
If the characteristics of the present day and modern musical instruments are effectively combined, not only modern interpretation of classical music but also classical music as well as problems of each era based on classification of musical history can be complemented and more effective performance can be expected. Of course, such midrange performance may result in insufficient reflection of the times, or the extreme expressions of modern piano, which may result in a violation of classical aesthetics. However, if the continuous effort and research of the performer is continued, the effective use of the pedal will be a sufficient condition for smooth progress of the tune through the improvement of the performance technique and furthermore.
With the invention of the ‘Fortepiano’ in the period of classicism, where the clavichord and harpsichord were central, the compositions of the keyboard instrument compositions increased noticeably. As the compositions of the keyboard instrument compositions became more active, there have been many changes to the musical instruments in order to improve the musical perfection and finally the modern piano was completed.
With the development of the musical instrument, the pedal has also undergone a significant change, and thus the modern piano, which is the completion of the keyboard instrument, has three pedals: a damper pedal, a sostenuto pedal, and a unacorda pedal. The pedal is mainly used to connect slur that can not be connected by hand, or to enhance the performance of the performance by expressing various aspects of the musical atmosphere according to the expression of dynamic, harmony and composition.
The development of these pedals is, on the other hand, one of the reasons for the difficulty in expressing classical music as a modern instrument. FortePiano, the keyboard instrument of the time, was different from the present, not only in appearance and tone, but also in playing techniques. In particular, the use of the pedal, which did not exist in the FortePiano, is a problem that should be considered when playing music of classical age, but it also becomes a tool to express the characteristics of the tone and classicalism which are not expressed by technique alone more easily with modern piano.
From this point of view, this paper examines the history of the classical musical instrument in Chapter 1, and the role of the pedal in Chapter 2, before discussing pedal technique in earnest. In Chapter 3, based on the contents of Chapters 1 and 2, the existing Haydn Sonata editions were collected and selected, and three representative versions were selected. We compared and analyzed dynamic expressions and pedaling on each score, and considered how to use the pedal that is suitable for a modern piano in the part where the pedal was not indicated due to the problem of the musical instrument at that time.
The Wiener Urtext Edition and G. Henle Verlag editions had no pedal sign except for the open pedal. The reason is presumed to reflect the intention of the composer and the characteristics of the instrument. However, when playing a version in consideration of only the times of the times, the performance was not smooth and the ease of the modern instrument, the piano, could not be fully utilized. Of course, some versions (Breitkopf & Hartel) have pedal markings, but the excessive pedaling did not completely solve the difficulty of applying age to modern instruments by creating a dissonance.
Due to the differences in pedal notation, the performance of the Haydn Sonata depends on the interpretation of the performer. Therefore, in this paper, F. J. Haydn Piano Sonata No. 60 in C Major, Hob. XVI: 50 I wanted to approach the ideal performance of the 1st movement. The use of a pedal that properly accommodates each edition allows legs that can not be touched by the hand and can be used to change the mood of the song in the composition or changing part of Mars, or to make it easier to express the sudden dynamic changes that occur during the performance .
In this way, it is necessary to selectively apply various pedal proposals to play the classical music with modern instruments. In order to do this, a detailed analysis of the song must first be made, and it will be necessary for the performer to take full advantage of the characteristics of the classical musical instrument and the advantages of the modern musical instrument based on a sufficient understanding of the age.
If the characteristics of the present day and modern musical instruments are effectively combined, not only modern interpretation of classical music but also classical music as well as problems of each era based on classification of musical history can be complemented and more effective performance can be expected. Of course, such midrange performance may result in insufficient reflection of the times, or the extreme expressions of modern piano, which may result in a violation of classical aesthetics. However, if the continuous effort and research of the performer is continued, the effective use of the pedal will be a sufficient condition for smooth progress of the tune through the improvement of the performance technique and furthermore.
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