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    Britten Holiday Diary Pedaling

    Uploaded by

    Tung Khng Chua
    The document discusses Benjamin Britten's piano work Holiday Diary Op. 5. It provides biographical information on Britten and discusses his approach to pedaling. It analyzes each movement of Holiday Diary, noting Britten's specific pedal markings in movements I and III. While movements II and IV have no markings, comparisons are drawn to works by Debussy and Ravel to inform pedaling choices. The document examines Britten's pedaling techniques and how they create effects like legato, crescendo, and accentuation within the limited dynamics of the piano.

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    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd

    Britten Holiday Diary Pedaling

    Uploaded by

    Tung Khng Chua
    207 views31 pages
    The document discusses Benjamin Britten's piano work Holiday Diary Op. 5. It provides biographical information on Britten and discusses his approach to pedaling. It analyzes each movement of Holiday Diary, noting Britten's specific pedal markings in movements I and III. While movements II and IV have no markings, comparisons are drawn to works by Debussy and Ravel to inform pedaling choices. The document examines Britten's pedaling techniques and how they create effects like legato, crescendo, and accentuation within the limited dynamics of the piano.

    Original Description:

    Pedaling in Benjamin Britten's Holiday Diary Op.5

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    The document discusses Benjamin Britten's piano work Holiday Diary Op. 5. It provides biographical information on Britten and discusses his approach to pedaling. It analyzes each movement of Holiday Diary, noting Britten's specific pedal markings in movements I and III. While movements II and IV have no markings, comparisons are drawn to works by Debussy and Ravel to inform pedaling choices. The document examines Britten's pedaling techniques and how they create effects like legato, crescendo, and accentuation within the limited dynamics of the piano.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    207 views31 pages

    Britten Holiday Diary Pedaling

    Uploaded by

    Tung Khng Chua
    The document discusses Benjamin Britten's piano work Holiday Diary Op. 5. It provides biographical information on Britten and discusses his approach to pedaling. It analyzes each movement of Holiday Diary, noting Britten's specific pedal markings in movements I and III. While movements II and IV have no markings, comparisons are drawn to works by Debussy and Ravel to inform pedaling choices. The document examines Britten's pedaling techniques and how they create effects like legato, crescendo, and accentuation within the limited dynamics of the piano.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 31
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    The text discusses Benjamin Britten's approach to pedaling in some of his piano works, particularly his early work Holiday Diary Op. 5. It also covers some general concepts of pedaling techniques and their musical effects.

    Holiday Diary Op. 5 is Britten's first published work for solo piano. It was composed in 1934 and consists of 4 short pieces - I. Early Morning Bathe, II. Sailing, III. Fun-Fair, and IV. Night. The text examines Britten's specific pedal markings in some of the pieces and discusses the narrative or musical elements of each.

    The text notes that Britten only indicated pedal usage in some of his piano works by using markings like ' and '. It also mentions that Britten may have feared performers taking these indications too generically.

    Pedaling in

    Benjamin
    Brittens
    Holiday Diary
    M U S7 0 98 HIST OR IC A L PE R FOR MA NC E
    P RAC T IC E
    C H U A TU NG KH NG
    M MU S 1

    Contents
    Scope and Methodology
    Benjamin Britten
    Pedaling in Brittens Piano Works
    Pedaling on the Modern Piano
    Brittens Contemporaries
    Holiday Diary Op. 5

    Scope and Methodology

    Benjamin Britten (1913


    1976)

    Benjamin Britten (1913


    1976)
    Melodic gift was apparent when young
    Accepted into the Royal Academy
    Drawn to writing for unbroken male voices
    Modest output of instrumental works
    Best known for his orchestral works and operas

    Brittens Pedals
    Only indicated in some instances
    Uses

    To be taken literally?
    Britten feared generic interpretations

    Brittens Contemporaries
    Composition Teachers
    John Ireland
    Frank Bridge
    York Bowen

    Pedaling on the Modern


    Piano
    3 basic forms of application
    Anticipatory
    Rhythmic
    Syncopated

    Vibrato/Flutter pedaling
    Half-pedal

    Effects of damper
    pedals
    Britten composed the modern piano
    Sympathetic vibrations
    Accenting
    Legato
    Crescendo
    rounding of the tempered fifth

    Holiday Diary, Op. 5


    Brittens first published work for the piano
    Composed in 1934
    Premiered by Clifford Curzon in 1944
    Limited recordings available
    Specific pedal markings in I and II, not in III and IV
    An early work, less adventurous as compared to Notturno

    I. Early Morning Bathe


    Narrative account of a swimmers bath
    senza
    sempre con

    I. Early Morning Bathe

    Bars 9 - 18

    I. Early Morning Bathe

    etc.

    Bars 22 - 27

    III. Fun-fair
    Rondo form
    Specific pedal markings to aid crescendos and accents

    III. Fun-fair

    Bars 12 - 13

    Bars 17 - 19

    III. Fun-fair

    Bars 46 - 49

    III. Fun-fair
    Rondo form
    Specific pedal markings to aid crescendos and accents
    Performers own pedaling

    III. Fun-fair

    Bars 58 60, Section C Fanfare

    Bars 90 95, Section D Ferris wheel

    III. Fun-fair

    Bars 113 120


    Marks specifically the release of pedal

    II. Sailing
    Ternary, with a turbulent middle section
    tenuto con pedale

    II. Sailing

    Night Piece, Bars 1 3

    Sailing, Bars 1 3

    II. Sailing

    Ravel: Le Tombeau de Couperin, IV. Forlane, Bars 20 24

    Debussy: Estampes, I. Pagodes, Bars 4 6

    II. Sailing

    Bars 34 35

    Bars 47 48

    IV. Night
    Ternary form
    no pedal directions given

    IV. Night

    Bars 1 9

    IV. Night

    Debussy: La Cathedrale Engloutie, Bars 1 7

    IV. Night

    Bars 1 9

    IV. Night

    Bars 20 23

    Conclusion

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