Clavier Companion - July/August 2017 - 48
Marshall's second book on pedaling, The Sonority of
the Piano, was published by Boileau in 1940. It consists
of short pieces in their entirety, most of which are from
the nineteenth century and many by Robert Schumann,
a favored composer of the Catalán School. In addition to
providing pedal indications, Marshall includes fingerings
and illustrates many levels of contrapuntal interest
through larger and smaller note values. This, too, is most
instructive for the student (see Excerpt 11).
Excerpt 11: Pedal markings by Frank Marshall for Robert
Schumann's A Little Romance, Op. 68, No. 10.
comprehensive. One of Marshall's last surviving
pupils, Professor Carlota Garriga, began studying with
Marshall in 1944 when she was seven. She indicated
that Marshall was a caring teacher who also had her
work with an assistant, Mercedes Roldós.
Garriga would work on technique in detail with Roldós,
and she would see the "Maestro" every two weeks. In
addition to basic technical exercises,
he would assign Clementi, Czerny,
and Cramer exercises. Marshall
would demonstrate on the student's
arm the correct touch in order for
the pupil to better understand his
approach. Professor Carriga goes on
to say that the classes with Marshall
were long and intensive, and that the
Maestro never looked at the clock.
teaching of the Brahms Intermezzi.
Marshall also gave great importance
to fingering, and his observations were notated. He
would be sensitive to a particular student's needs and
felt that the same fingering for a large hand would
not work well for a smaller one. Garriga teaches at the
currently-named Granados-Marshall Academy, and
indicated that Marshall's books on the pedal are still
used at the Academy and are mandatory in the exams.
Although it would be daunting for both teacher and
student to utilize Granados's and Marshall's methods
in their entirety, the discriminating instructor could
extract relevant examples of pedaling that would
address the needs of both aural and visual learners.
The works of both Granados and Marshall feature the
often overlooked aspect of pedaling in piano study, and
give insight to the unique sound world of this important
school of piano pedagogy.
Donald Alfano currently teaches
Housatonic Community College in
Bridgeport, CT, serves as church
organist, and teaches privately.
He received his D.M.A. from Case
Western Reserve University and
the Cleveland Institute of Music. His teachers
include Constance Keene, John Browning, and
Jack Radunsky. Several of his articles have been
referenced in Guide to the Pianist's Repertoire by
Maurice Hinson. His website can be found at www.
1. Granados, Enrique. (2001). Complete Works for Piano, Vol. 9.
Barcelona: Editorial de Música Boileau, p. 20.
2. Ibid., p. 65.
3. Ibid., p. 64.
4. McGrigor, Albert. (1979). "The Catalán Piano School." Liner notes from
The Catalán Piano Tradition. New York: International Piano Archives
5. Hansen, Mark. (1985). "The Catalán School of Pedaling in the Teaching
of Enrique Granados and Frank Marshall" in The Pianist's Guide to
Pedaling. Joseph Banowetz (Ed.). Bloomingon,
IN: Indiana University Press, pp. 227-228.
6. Granados, Enrique. (2001). Complete Works
for Piano, Vol. 9. Barcelona: Editorial de Música
Boileau, p. 111.
7. Monica Pagès Santacana. (2000). The
Granados-Marshall Academy: 100 Years of Piano
Teaching in Barcelona. Barcelona: Taller Editorial
8. Ibid., p. 156.
9. Marshall, Frank. (1919/1992). Practical Study
on the Pedals of the Piano. Madrid: Union
Musical Editions S.L., p. 2.
10. Ibid., p. 10.
11. Ibid., p. 12.
Correspondence with Prof. Carlota Garriga, November 2016.
Hess, Carol A. (1993). "Enrique Granados and Modern Piano Technique."
Performance Practice Review: Vol. 6: No. 1, Article 5.
Sources for examples:
Examples 1 - 7: Granados, Enrique. (2001). Complete Works for Piano,
Vol. 9. Barcelona: Editorial de Música Boileau.
Examples 8-10: Marshall, Frank. (1919/1992). Practical Study on the
Pedals of the Piano. Madrid: Union Musical Editions S.L.
Example 11: Marshall, Frank. (1940). The Sonority of the Piano. Barcelona:
Editorial de Música Boileau.