The Pedal Piano
The Érard firm, which had fitted a pedalboard to the fortepiano as early as 1797, patented the first true pedal piano in 1853. Designed as a practice instrument for organists, it enabled one to play organ pieces without a blower. In that regard it continued a short-lived tradition of study instruments, including the clavichords and pedal harpsichord, for which certain composers wrote dedicated works (including the trio sonatas of J.-S. Bach). Perfect for introducing organ repertoire into the concert hall, before electrification brought the organ itself there, the pedal piano enjoyed a modest vogue in late nineteenth-century France. Interest in the instrument can also be seen as a form of homage to Bach, the idol of musicians during the Second Empire. The 1853 model boasted a seven-octave keyboard and a three-and-a-half-octave pedalboard, with double escapement action and pedal coupler. Its repertoire, produced by leading pianists such as Boëly, Liszt, Alkan, Schumann, and Saint-Saëns, but also composers such as Gounod and Brahms, fully exploited its potential: rich resonance, varied timbre, wide register, and the spectacular concert effect of virtuoso pedalling.
Related persons
Related works
Benedictus pour piano à pédalier op. 54
Charles-Valentin ALKAN
Concerto for pedal piano and orchesrtra
Charles GOUNOD
Études pour piano à pédalier
Charles-Valentin ALKAN
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publication date : 10/04/26
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