Chapter 4 - Matters of Time
In a satisfying performance rhythmical steadiness never comes across as rigidity; there is
always room for flexibility.
Performance practice generally moves through the centuries in the direction of greater
exactness.
Because the purpose of rubato is to add a sense of improvisatory freedom to the
performance, one should avoid using the same kind of rubato repeatedly in a piece.
Stretching or rushing successive phrases in the same way creates a monotonous sense of
predictability that defies the purpose.
The more elaborate the dynamic phrasing, the less rubato should be used, and vice versa.
Chapter 5 – Pedaling
Although the harpsichord and clavichord do not have a pedal device, they are built to
allow a constant halo of overtones to surround each sound.
Good pedalling comes more from a discriminating ear and sensitive touch than from foot
technique.
In a multi-layered texture, therefore, a half-pedal change will help the pianist to get rid of
some of the sounds in the higher register only.
Very often the best pedaling is done not by the foot but by the so-called finger pedal,
when the notes of the texture are held over by fingers to create harmonic continuity.
Half-pedaling is indispensible for weeding out dissonances, without creating moments of
harmonic nakedness. It can be very useful in a resonant hall.
A slow release of pedal can produce a magical result with its gradually vanishing sound.
Another effect is to play without using any pedaling.
Too often the left pedal is used merely as a mute, when its main purpose should be to add
a special color to the sonority.
Chapter 6 – Practicing
Learning a new work starts with choosing a good edition. I strongly advocate using
ürtext editions.
Many students turn their practice sessions into repeated run-throughs. This habit is very
harmful because it ingrains in the pianist’s mind all the faults and imperfections of