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