Clavier Companion - July/August 2017 - 47
spiritual son. I was deputy director of the academy
and substituted for him during his absences. I was
present when he was composing, I was the first to
perform his pieces, and Granados gave me verbal
indications that were impossible to transcribe onto
Marshall began his career as a concert pianist
traveling through Europe and America, receiving
accolades as stated in a September 1906 review
from the Milan Cronaca dei teatri: "A splendid
success! We are pleased to confirm that as a
pianist, Frank Marshall has demonstrated that he
has wonderful qualities in execution and technique.
In the quick passages, he achieves the sobriety
characteristic of great pianists."8
In addition to performing and teaching, Marshall
won a prize in composition in 1907 for his Suite
Catalonia, still performed today. However, Marshall
curtailed his performing career and realized his true
calling was to teach. Granados needed to spend
more time composing, and Marshall assumed
more responsibilities at the Academy. A dedicated
teacher, Marshall, like Granados, kept handwritten
records of his students' progress-even indicating
the metronome marks they arrived at in their
practice. Marshall was the only teacher of Alicia
de Larrocha, who began studying with Marshall in
1926 when she was three years old. Like his mentor,
Marshall also focused on the use of the pedals,
writing Practical Study on the Pedals of the Piano,
published in 1919 by Union Musical Editions.
Marshall opens Practical Study with exercises
in the same manner as does Granados, with
timed applications and releases, yet with more
conventional notation rather than subdivisions.
In Example No. 1 of his book, Marshall indicates,
"If the note or chord is of binary value, divide it into
two halves, depress the pedal on the second half,
and lift it on the first half of the following division
and so on."9
Marshall also gives similar examples to those of
Granados in terms of pedaling groups of notes,
leaps, and so on. Marshall's section on Rhythmical
Accentuation of The Pedal is noteworthy.
According to Marshall: "This pedal will be applied
simultaneously by striking the note or chord that
must be accentuated and lifting it at the sign (+).
The note or chord to the one that corresponds to the
'rhythmic pedal or accentuation pedal' must be preceded
by a chord or pause. In order to distinguish more easily
this pedal, a line underneath the "p" is indicated."10
Example 9: Pedaling exercise, by Frank Marshall.
Marshall also includes an example from the literature
describing the proper use of the pedal in melodies.
"There are cases, especially in melodies and in
polyphonic music where in order to avoid dissonance,
one must avoid the repeated application of the pedal."11
Excerpt 10: Pedal markings by Frank Marshall for Ludwig van
Beethoven's Sonata Op, 31, No. 2, first movement, mm. 144-148.
Example 8: Pedaling exercise, by Frank Marshall.
Frank Marshall with his student Alicia de Larrocha.