Sam wrote:

>...  Gieseking was a master at pedalling, which partly accounts for the
>beautiful and at times ethereal tone and color in his Debussy.

I agree with you about Gieseking's coloring but I think it's a pity his
phrasing and rhythmical approach was not so precise.  Although he played
very "light".  Well, one can't have everything.

>Gould hardly ever touched the pedals which accounts for the hard
>staccato and the clean brisk sound in his playing.  Gould's accents were
>a conscious effort at pressing some keys harder than others in different
>places in the score.  A highly individualized style that is not to the
>taste of all.

I hope you don't mind if I add something.  Gould played on a Bechstein
which is very rich of overtones.  Perhaps even the piano with most
overtones.  GG had a perfect control over all ten fingers and the way he
articulates is one of the reasons why he could play like only a few can do.
His way of playing staccato's gives clearness and again, certain overtones
so he didn't need much pedal.  You can use a pedal different ways, as piano
players probably know, and it's always to add or to remove overtones!

Henny v.d. Groep
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