Pedal y equilibrar las tres características principales

Welcome Back to Our Course on Beethoven's Moonlight Sonata

In previous lessons, we've discussed:

• Sound production
• Structure and pace of the piece
• Three main features:
  • The bass in the left hand
  • The triplets in the right hand
  • The famous motif, the melody in the right hand

The Role of Triplets

The triplets are often seen as accompaniment, but they are actually much more than that. One shouldn't take a passive approach towards them.

Exploring the Pedal

Before we dive into the world of pedal, it's important to note that there are many different views on how this piece should be performed and pedalized.

Beethoven's Pedal Marking

Beethoven's mark for the first movement instructs performers to use one sustained pedal throughout. On a modern instrument, like the Steinway we have here in Amsterdam tonight, sound production is much more robust.

• The piano is not only louder but also more massive than the instruments used in Beethoven's time when this sonata was written (i.e., 1801).
• The range is bigger, and the pedal catches those tones, allowing them to resonate for a much longer time.

The Concern for Pianists

This can be a worrying circumstance for many pianists. Let me show you how it sounds if I simply follow Beethoven's instruction and push down the pedal throughout the piece.

Although I won't play the whole movement, I will demonstrate the beginning:

[Plays the beginning of the movement]

Notice how those harmonies already clash, which can be interesting, but one might wonder, Is it too much?

Authentic Sound

I don't believe this is how Beethoven intended the piece to sound. Having played on a few instruments from Beethoven's time, I think we should respect his remarks from 220 years ago but also adapt them to our modern instruments to capture the essence of what he wanted.

Adapting the Pedal Technique

Half Pedaling

One approach is to change the pedal here and there, or to use half-pedaling.

• Half pedaling means that for certain chords, instead of changing the pedal entirely, you can lift and push down partially, creating a blend that isn't too clean.

For instance, consider this chord:

If I completely lift the pedal, it might sound too crisp.

Now, if I simply leave the pedal down, you would still distinctly hear the initial bass note, which may be too loud. Beethoven's original pianos did not sustain tones as long, allowing harmonies to dissolve more quickly.

Suggested Pedal Usage

What I propose, and this is not a new idea, is to manage the pedal in a way that is not overly explicit.

For example, when you encounter similar harmonies, such as:

• The notes G sharp, C sharp, and E in C sharp minor
• A subsequent change in the bass while the other notes remain the same

You could use the same pedal for these two harmonies, allowing for a smoother transition without needing to change the pedal constantly.

"This approach creates a more authentic sound that resonates more closely with what Beethoven intended."