With Rubinstein considered Liszt's only possible rival on the concert stage, and Carreño as the foremost woman pianist of the late nineteenth century, it is an unexpected gift that both have left behind insights into that supremely important — but grossly neglected — aspect of performance called "the soul of the piano": the art of piano pedaling. Their treatment of pedaling is of the utmost importance, not only from a historical standpoint, but for what it can still teach even the most sophistic...