Performance Tips: Pedaling

A crucial aspect of performing this piece is its pedaling.

While the authenticity of the pedal markings in the score consulted by the author cannot be definitively confirmed, this discussion will proceed on the premise that they were indeed inscribed by Chaminade herself.

Undoubtedly, this composition is inherently lyrical, and thus should be performed in a singing manner. Additionally, at the outset, the instruction "bien chante" is present, followed by "very flowing" in parentheses. It is probable that those who translated the English phrase within the parentheses arrived at the interpretation "very flowing." In reality, "bien chante" in French signifies "to sing amply" or "with full voice." This subtle difference in meaning is significant.

For the purpose of this discussion, the French phrase "bien chante" will be interpreted as "to sing amply."

Let us consider the first bar as an example. The right-hand line clearly constitutes the melodic part, which is straightforward. The issue lies with the rests in the left hand. Are these rests intended to signify complete silence? A literal interpretation of these rests, resulting in complete silence, would render the performance remarkably abrupt, inorganic, devoid of emotion, and mechanical.

These rests should be understood as gestural indications, serving to facilitate the lifting of the left hand. Consequently, by adhering to the indicated pedaling, the pedal should not be released until the end of the first bar. The same principle applies to the second bar. However, in the second bar, an asterisk marking indicates a pedal release. This is to prevent the undesirable muddiness that would arise from sustaining the pedal through the descending stepwise motion of B-A-G in the right hand. Nevertheless, it is not imperative to create an abrupt silence on the second beat; rather, it is permissible for the pedal from the first beat to overlap into the second beat to a certain extent, with the foot being released at a timing that avoids noticeable muddiness.

In the third bar, the chords on the first and second beats differ, necessitating two pedal depressions as indicated. This instruction should be strictly observed. The fourth bar follows the same principle as the second bar.

Subsequently, caution is advised regarding these seemingly overly generous pedal markings, as their misinterpretation can lead to a musical outcome that is counterproductive. The individual who inscribed these markings appears to have been excessively preoccupied with avoiding muddiness; however, unless there is a change in harmony, the pedal should generally be sustained.

As the piece itself is a romantic, lyrical song, an abrupt cessation of the accompaniment would detrimentally impact the overall atmosphere. This point warrants careful consideration.