pedalling in Liebestraum

A very specific question here, but I'll try to phrase it in general, as well.

First the specific: how would one best pedal in the fifteenth and sixteenth measure of Liszt's Liebestraum? Specifically, I'm thinking of the transition between measures, where the right hand plays D then E, and the left hand has a C to G 12th span chord at the right hand's E. I have to break the left hand chord, so I end up playing RH D, then left hand C, then LH G with RH E.

In general, I guess that pedal should be cleared when a non-harmonic note is played over whatever notes are already pedalled, more or less? Which would mean that, in the specific place in question, I would pump pedal just before the RH D (which conflicts with the pedaled notes from the second half of the fifteenth measure), and immediately re-pedal before RH E, which conflicts with the D? Or maybe I could leave the pedal off during the D, and start the pedal again at the left hand C.

I know this all might come down to a matter of taste, but my teacher isn't happy with how I do it, and I can't seem to get a clear explanation from him of what he's after.

That division of hands between the last note of m.15 and the first chord of m. 16 is appropriate.

Not necessarily in Romantic music. A little sumuding is allowed. One should still play the melody legato. Practice some without the pedal, then add the pedal as an effect to lightly smudge the line. Maybe use half pedal if the piano you're playing has that capability.

I play the RH D with the pedal still down from beat 3 with the 2nd finger, then quick pump the pedal to catch the LH C (like a quick pickup) while turning my RH thumb under to keep the melody legato. By the time your thumb gets to the E-nat in m. 16, the pedal has already caught the LH. C. Also I play the LH G a little bit before the RH E-nat. melody note. (sort of like a Chopin-esk melody rubato). The goal is to make the RH inner melody sound like the top note of an arpeggio, giving it a harp effect.

With the cresc. into m. 16 and using the thumb on the RH E-nat you get a natural accent on the E-nat plus you pick up the full sonority of the C major chord at m.16. The first beat melody note does not sound abrupt as long as you continue the crescendo through to the first beat of m.17. Perhaps that is what you teacher isn't happy with; the shape of the phrase.

I would say that your teacher *should* be able to explain what he wants you to do. Giving him the benefit of the doubt, he may just be wanting *you* to explore and figure out what to do. That's part of learning to play. Some teacher never teach their students how to think for themselves.

HTH,

My teacher was telling me to 'half pedal' but I didn't understand exactly what it meant. I was under the impression that the damper is either touching the strings, or not.

That's an interesting way to play it. I have to speed up my c-g transition to pull that off well, I think. Do you play most other broken chords in that song similarly? I.e., just before the melody note at which they're indicated, to create a harp-effect?

It did, thank you.