Bachs Feet: The Organ Pedals in European Culture (Musical Performance and Reception)
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Perhaps the most impressive aspect of the volume, and one that deserves special mention at the outset of any review, is his stunning erudition, which is on full display on every page. Not only is the research meticulous, but the scope and range of sources seemingly at his fingertips imbues the text with a richness of detail and makes the item bibliography an invaluable resource in itself. Bach's Feet's pages are organized into six extensive, subtitled, and largely self-contained chapters that proceed roughly chronologically from ca.
The first, "Inventing the Organist's Feet," begins with a discussion of the once-ubiquitous and now almost-forgotten myth regarding the invention of the pedals by a certain "Bernhard the German," whose name is first mentioned by an obscure fifteenth-century Venetian scholar as having added pedals with separable independent stops to the organ at St. Later writers somewhat surreptitiously expanded Bernhard's role to that of inventor of the pedals, a subtle but important change for Germans' conception of their role in organ history.
Yearsley resurrects the legend of Bernhard in order to introduce one of the main themes of the volume: for German commentators, almost from the beginning, the modern organ was defined more than anything else by the presence and use of a robust pedal division which, for several hundred years, was the exclusive domain of German organists. Furthermore, to be able to claim the inventor of this defining aspect was a significant point of national pride, and it Author: David Crean.
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