Proper Pedalization in Beethoven's First Movement

Introduction

Today, we will delve deeper into the topic of pedal usage in Beethoven's first movement. Beethoven clearly indicates that this piece should be played throughout with the pedal lying down. The term senza sordino means the pedal should not be pushed down, sordino meaning mute. So, senza translates to without mute, which means we play with the pedal down.

The Challenge of Modern Instruments

Using the pedal on a modern instrument, such as a Steinway, can be problematic. Modern pianos tend to sustain the bass, especially in the low register, for too long, resulting in a mushy sound. This can make it difficult to distinguish different harmonies, sounds, and phrases.

In this movement, Beethoven frequently shifts between minor and major keys, specifically from B minor to B major (starting at B15). It's essential to consider how Beethoven might have heard his piano in 1801, 220 years ago. His piano did not sustain notes for as long as modern instruments.

Recommendations for Pedal Usage

Pedal Techniques

1. Half Pedal: Experiment with using a half pedal to adapt to modern acoustics.
2. Lift the Pedal: Occasionally lift the pedal entirely to create clarity and distinction in the harmonies.

Analyzing Bar Changes

Let's examine a specific segment:

• Beginning from Bar 15, where Beethoven explores minor and major harmonies.
• The Neapolitan chord appears in Bar 21, leading to F-sharp minor, a completely different sound world.

Using one pedal here would result in unclear sounds, which definitely isn't what Beethoven intended. He wanted listeners to be able to "see through the cloud" of harmonies.

Connecting to Other Composers

This exploration may remind us of Debussy and Ravel, who represent French impressionism, a century ahead of Beethoven. Despite Beethoven's genius, he was remarkably forward-thinking with this 1801 piece.

Right Hand Technique

• Remember those triplets with a calm hand.
• Be careful with your thumb and ensure the left hand doesn't overpower the sound.

Further Pedal Applications

Bars One and Two

In Bars 1 and 2, you can leave the pedal down. As the A changes, you might gently create a tremolando effect without fully releasing the pedal. This allows for a smoother sound transition.

Acoustical Considerations

• If you play in a church (which has a lot of acoustics), use less pedal.
• In a drier space, you can afford to use more pedal.

Middle Pedal Technique

A more radical approach involves using your left foot on the sustained middle pedal:

1. Press down C-sharps, G-sharps, and F-sharps as these represent the tonic, subdominant, and dominant chords, recurring pedal tones in the bass.
2. Press down these notes quietly before starting the piece and then engage the middle pedal.

This allows you to sustain critical harmonic tones while keeping others from sounding, helping to achieve a clearer articulation and helping you get closer to Beethoven's intended sound.

Additional Considerations

In Bar 28, you can fully utilize the right pedal, allowing for vibrato since you have a new harmony after two bars of the dominant chord. Pay attention to crescendo and decrescendo markings in bars 28-31 and obey every minor detail in the score, from sudden pianos to subtle fluctuations in expression.

Conclusion

As you play, think like a conductor, always questioning the significance of each note. Remember:

• Approach every movement with calm hands, avoiding any accents.
• Observe voicing fluctuations as they guide you through the piece.
• Tailor your pedal technique to the specific piano and environment you're in, there are no fixed rules; it's about what makes sense musically.

In your journey to connect with Beethoven's spirit, focus on enjoying the process. As long as it fits with the score and feels convincing, you will be well on your way to capturing the essence of this magnificent work. Enjoy!