プログラムノート プロデューサーより

毎年恒例の、プログラムのFirst page.
毎年ちょっとずつだけ違います。
今回は前もって公開です♪

プロデューサーさん(夫)が書いてくれたものの、
プログラムに載せきれなかった文章もあります。。

勿体ないので続きをこちらに置いておきます😆

翻訳は、ページがしてくれる？😂
後で、時間があればしに来ます💦

Before a note is played on the piano, a piece of felt (the damper) rests on the string to stop the string sounding.

Without using the foot pedal, when a key on the keyboard is depressed, a hammer is thrown at the string and the felt is automatically raised from the string so that the note can sound. When the key is released, the hammer returns to its rest position and the felt falls back onto the string to stop it sounding.

When the right foot pedal is depressed, all the felt dampers are raised from the strings and remain raised, allowing all notes played to keep sounding until the foot pedal is released and the damper felts fall back onto the strings, stopping the sound.

Modern pedaling involves keeping the foot pedal depressed and the dampers raised continuously but quickly releasing and immediately depressing the pedal often to stop harmonies blurring. This gives more resonance, helps connect sounds smoothly (legato) and assists with greater volume when required.

Chopin’s use of the pedal was similar in some pieces of music but entirely different in many. We know this because, unlike many composers, he marked when to use the pedal in great detail in his scores. Some music is marked with very little use of pedal. It seems that Chopin wanted the clearer sound of no pedal at times. On the other hand sometimes Chopin marks the pedal depressed continuously for long periods indicating he wanted a blurred sound that is avoided in modern piano technique.

Some people argue that Chopin forgot to mark pedal or didn’t mark it because use of pedal is “obvious”. This seems unlikely because Chopin is very meticulous in marking pedal in other cases. Chopin’s contemporary Friedrich Wieck (Clara Scumann’s father)strongly recommends the chaste sound of no pedal and recommends Chopin’s scores as exemplars of how to use pedal.

In summary, Chopin seems to have used the pedal and no pedal for contrast of color and texture

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10月22日(火)早川奈穂子フォルテピアノリサイタル
プレイエルとショパンの物語vol.4 〜異国の風
兵庫県立芸術文化センター 小ホール19:00
1845年製プレイエル使用
http://naokohayakawa.com/blog-entry-542.html
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