nancylebov (nancylebov) wrote,

Music and the spirit of the thing

The Russian piano masters are interested in building the rational proportions between the usage of fingers' energy and the hands' weight in playing and – especially – in practicing the piano. They strongly avoid speaking about purely mechanical errors yet; instead they always try to solve the technical problems focusing students' hearing and fantasy on such VALUES of the SOUND that would help in recognizing any possible manual disorder in playing.


Let you have a look at the following model: as long as the student tries to "relax the muscles" in any particularly difficult phase of the musical piece, having no image of its MUSICAL IDEA – he is unable to gain the exact image of the whole situation. Relaxation, besides, had obtained nearly religious or, better-said, OBSESSIVE sense in several piano-schooling systems (as in the Taubman Approach, for instance). I feel the necessity to maintain that many years ago I have been infected by this truly dangerous "virus", too...


That should mean that the pure "relaxation" becomes replaced by the "energy & weight managing", which does not include any shadow of PASSIVITY that – I am truly afraid – is so typical to relaxation, generally.

As it has been formerly maintained, this formula has straight relation even to the first phases of the piano schooling. Building possibly firm interest in FANTASY'S ACTIVITY the Russians especially emphasize its NECESSITY in the first phases of the children piano education IN SPITE of quality of their musical talents! According to Russians beliefs, again, the manually unfit students NEED even more help in activating of their likely dead FANTASY.


Well, only they who possess something – could be able to share this with others. Who of us would like to become granted by the "relaxation" shining from the stage, or – to share the joy caused by "dexterity" of fingers? Piano adepts, who are getting no joy from IMAGE-MAKING, must seek for substitutes that would originate the illusion of "being an Artist"; they actually need in any possible surrogate of the "Art-making". As the result they overuse their hands and fingers only, trying to find the key to the doors of Art in the absolutely wrong way. Seeking for the finally good result one has to be sure that they, who are looking for "relaxation" – PROBABLY could find it! Who looks for "fingers' dexterity" – probably will find it, too. As well: who wants to make his hands iron-strong – probably sometimes will get as strong hands as the Finnish woodsmen have...

Still no one of them, who is seeking for above maintained elements, will achieve the goal they PROBABLY were looking for – because the artistically proper piano technique cannot be developed as the SIDE-RESULT of work targeted on clearly non-artistic objects.

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