October, 2010 - Heinrich Neuhaus: Teacher of the Great A review "The Art of Piano Playing"

As Theodore Leschetisky (1830-1915) was reportedly the foremost and unrivalled piano teacher of the 19th century, Russian pedagogue Heinrich Neuhaus (1888-1964), teacher of Emil Gilels, Sviatoslav Richter, and countless other luminaries, probably holds that distinction in the 20th century.

Remarkably, only one library copy of this hallmark volume, "The Art of Piano Playing," translated and published in 1973, is available in Suffolk County (Patchogue)

Of immediate and rare interest is the preface in which Neuhaus profusely apologizes to the reader for claiming to haphazardly express his thoughts gathered during vacations and off teaching periods.

Following, however, are some samples of some of the most unique ideas, organized into such chapters as tone, interpretation, technique, and other significant pedagogical issues. Pianists reportedly flocked to his crowded classes in droves for inspiration.

Unlike Leschetizky, however, who Paderewski, his most famous student, credits for teaching him how to work, little in the way of practicing procedures is included in this volume. Frequent comparisons between the highly gifted and average students also seem to detract from the many insights. A few - Technique: Works of Bach - Inventions, The Well-Tempered Clavichord, etc. - are worth more than a hundred etudes.

Rhythm: more akin to the variable beating of the heart than to the metronome.

Interpretation: feeling the inner core of each work, beyond mere observance of printed indications.

Pedagogy: Separating instruction geared to the music, the instrument, and total student development. Acknowledging and accommodating the uniqueness of each student .

Despite the very long winded rambling style in most sections, perhaps due to translation, this work by one of the highest of pedagogues is highly enlightening.

November. 2010 - The Art of William Kapell (1922-53)

When pianist Leon Fleisher, recent Kennedy Center honoree, proclaims "Willie was the greatest pianistic talent this country ever produced" seconded by Russian superstar Sviatoslav Richter, people in the know take notice.

Kapell's life was tragically cut short at the age of thirty one in a plane crash as he returned from a concert tour of Australia. The recordings of his diverse repertoire are often considered his true legacy, often ranked the best ever.

Two very apparent aspects of his colossal achievements would undoubtedly include an unusual driving work ethic, reportedly practicing relentlessly, in addition to some of the most unique pedagogical practices.

In a 1950 article in "Etude," for example, Kapell credits continued practice of simple Hanon exercises since childhood. This from one having reached unparalleled technical heights in recordings of Chopin, Liszt, and Prokofiev.

Some other technical ideas - Although technical polish should be subservient to the musical message, there, nevertheless, is aesthetic quality in itself in hearing crystal clear passage work, evenness, control of touch, etc.

Has often observed harder, less talented, workers eclipse the highly gifted.

Favors clear realization of the desired sound as students find their individual means. As opposed to coaching hand positions.

Development of essential isolated finger independence, separate and in addition to arm and body weight,

Development of separate technical approaches to individual composers and periods.

Practicing scales, arpeggios, and exercises musically.

This documentary style history of William Kapell, by author Tim Page, is available from the International Piano Archives ofthe Maryland Michelle Smith Performing Arts Library: Donald Manildi, curator, godowsky@mail.umd.edu

December, 2010 - Sight Reading Dilemma

Those of us who adjudicate regularly almost always find the sight reading component far below repertoire and scale levels. A perfect sight reading score, accurate notes and rhythm, of only the usual 8 bar sample is also almost a never.

Why so? A few factors seem to contribute -

Unlike most other instrumentalists, piano study is primarily solo, most often devoid of ensemble experiences, compounded by two clefs. Sight reading benefits, in addition, also seem to cease to exist once the notes of repertoire pieces are learned as interpretation and memorization become the focus.

Brainstorming Remedies -
Providing ensemble experiences: duets, accompanying, school groups, chamber music, etc.

Sight Reading as Fun -
Weekly sight reading assignments as a change of pace from long term repertoire study: familiar songs, Broadway show tunes, a few lines from another piece, etc. arranged on appropriate student levels.

"Name that Tune" excerpts for students to decipher and ID during the week.

Development and listing of separate repertoires: long term (recital/festival bound) and short term (sight reading)

Following the score experiences: recordings, teacher playing, etc.

Making fun contagious: Finding the time ourselves for daily sight reading—e.g. more familiarity with the ever increasing ocean of piano literature, etc.

Sharing strategies that work at meetings and on-line -

January 2011 -The Chopin Etudes: Second Thoughts

On any given morning cascades of Chopin Etudes simultaneously fill the practice room corridors at leading conservatories worldwide. Juilliard students apparently are obsessed with the studies.

Only a gifted genius as Chopin could have succeeded in creating such aesthetic and enduring masterpieces, each based on a specific technical challenge. But aside from the monumental and incomparable aesthetics, are the technical values all they're cracked up to be?

Some second thoughts -
In light of the many multitudes of works created over time, probably millions, each has its own individual technical challenge. Chopin's 27 studies would apparently only begin to barely scratch the surface.

Would it not be of more direct value to practice any technical challenge inherent in any piece in itself, without resorting to learning pages of questionable etude relevancies?

Would learning only a page or two of each etude, assuming applicability, serve the same purpose as, for example, learning six pages of continuous double 3rds: Etude 18, etc. Overkill?

Virtuoso pianism and keyboard gymnastics were often the rage of the day in the 19th century, Although certainly not characteristic of Chopin Etudes, technique has since evolved to include more comprehensive challenges.

If Chopin had lived longer, would he possibly have revised some or more of the etudes as Liszt? Transcendental Etudes.

Would it be more profitable to create our own relevant exercises, as followed suit by Alfred Cortot, based on Chopin's innovation and lead?

Would our time be better spent only learning the most aesthetic etudes?

In this black and white polarized age, the truth probably lies in the gray area.

February, 2011: - Practicing and Repetition

One of the most frequently expressed critiques and cautions of notable pedagogues throughout the musical ages has always been and continues to be the one of meaningless repetitions.

The key warning here, apparently, is not repetition, but "meaningless." After all practicing and repetition are almost synonymous.

One is reminded of the familiar story about pianist Leonid Hambro spying on colleague Vladimir Horowitz, passing his house practicing one summer on Fire Island -- as Horowitz, according to Hambro, repeated the same two—bar passage of a Liszt etude no less than ninety-nine times.

When Hambro called this to Horowitz's attention the following day Horowitz emphatically exclaimed "I must repeat so much that my fingers play without my head"

Hence, the familiar pianistic tactile phrase "pieces in or not yet in the fingers" -

Another frequently expressed and clearly very essential pedagogue comment, however, seems to directly address our prime teaching goal and the repetitive issue: to teach students how to teach themselves independently, primarily including how to practice --

Very apparently and logically leading to a seemingly essential procedure "during lessons themselves" -- coaching students to accurately repeat a small segment a certain amount of times perfectly - and only the perfect times count as valid.

First perhaps notes only and/or notes and tempo, keeping in mind, of course, that the first major challenge, before primary focus on interpretation can begin, must be mastering accuracy of the text.

Listing very potentially productive benefits of repetition would also seem endless --
• Memorization - analyzing interval relationships and harmony.
• Understanding and projecting composer intents.
• Creating individual interpretations.
• Conveying and practicing the rise and fall of phrases.
• Focus on tone quality.
• Focus on passage clarity and evenness, adjustments wherever necessary.
• Etc, etc.

Being human, of course, our minds unquestionably must wander at times—all the more reason apparently to get back on track with the repetitive program - The list seems to go on and on -- ya da da da - da da -- reminiscent of some popular tune - but can't remember which one - Guess I need to repeat hearing it more.

March 2011 - Why we Teach: A Perspective
Two most meaningful, lifetime, and dual disciplines rolled into one - Art of Pianism -- Art of Teaching
• Sky's the limit in each discipline.
• We're people people. Instincts to share, whether a good story, joke, or what we know.
• To foster and carry on our rich musical tradition from J.S. Bach or before to the present and beyond.
• To enlighten our students and society with divinely inspired works of the masters.
• The capacity to derive as much satisfaction from the progress and achievements of our students as from our own.
• To witness our students and their parents illuminating fulfillment after the lessons.
• We enjoy the company of our students even during non instructional times.
• Luxury of setting our own schedules and fees in the comfort of our home studios.
• To assimilate, synthesize, and develop the best of available methodologies.
• Creative potential of accommodating diverse learning styles.
• Privilege and opportunity to serve.
• We appreciate and enjoy multiple benefits of membership in our SPTF.

April 2011 - Repertoire Size
Pianists, teachers, and concert agencies have long considered the pros and cons of repertoire size: large vs. a more limited, yet quality one.
Whereas, for example, managers have noted that winners of some prestigious international competitions are often ill equipped with only one or two, at best, programs as they embark upon their careers, a David Foster of ICM Management contends -
The submission of too large a repertoire list to agencies is a giveaway regarding quality -- "nobody can have a long list that can really be played well".
Merits of cycle performances and recordings (32 Beethoven Sonatas, complete Chopin, etc.) vs. select works apparently would also come into question.
Leading pianists of our time also seem to reflect individual preferences from an Arthur Rubinstein presenting his marathon concerto series in Carnegie Hall to the very limited concerto output of Vladimir Horowitz, who nevertheless, reportedly, played everything at home.
And how about those three extraordinary unmatched recordings to date, reaching stratospheric heights, of the Rachmaninoff 3rd?

We also know that learning as much output of any composer, including non pianistic works, is a leading pedagogical certainty in understanding style and genre.

So where does that lead us in the teaching community, especially regarding advanced students and a comprehensive knowledge of the literature?

Perhaps the development of two separate repertoires is feasible, broken down into two distinct daily work sessions -
. A more limited performing one, subject to continual growth, including all significant areas of performance.

. A Teaching Repertoire, encompassing large segments of the literature, ideally above sight reading levels.
Who said being a pianist/teacher is a piece of cake?

May 2011 - Sticky Ideas

A recent article in Clavier Companion, "Sticky Ideas in Teaching," by Jane Magrath, caught my attention and got me thinking. How many of our lesson ideas over the years truly have lasting student impact? Reflecting, it occurred that our teaching most probably goes way beyond instruction, transmitting attitudes, philosophies, and general approaches to life itself.

Of course we'll never fully know, but would certainly hope that some of the following gets through:
• Optimism
• "The sky's the limit" in all aspects of life.
• The foundation of all good piano playing is attainment of accurate notes and rhythm.
• The learning curve has dips and valleys. We're human and learn from mistakes and setbacks.
• Piano instruction is a pleasant and constructive endeavor.
• To parents: The most successful students are the ones, despite occasional and expected waning of interest, who continue lessons long term.
• All development, at every level, is still a work in progress.
• Playing heavenly composer creations is a gift, not to be taken for granted.

June 2011 -My Nine Lives (Leon Fleisher)

Did any of us every wonder why all one-handed piano music was com- posed only for the left hand, not the right?
Can't say it ever crossed my mind, especially being more currently preoccupied with more pressing concerns such as how much I spent on oil this past winter.

Nevertheless, the answer is clearly revealed on p.171 of Leon Fleisher's autobiography, My Nine Lives. Of more relevant interest is Fleisher's ideas on p. 216 regarding teaching unfamiliar pieces we never learned ourselves.

Nine Lives, one of the latest autobiographies along with Byron Janis' Chopin and Beyond to hit the bookstores, is packed with a wealth of pedagogical beliefs, accumulated by Fleisher during his eighty-three years.

Having made his mark early with his recordings of the five Beethoven concertos, often considered the most definitive in collaboration with legendary conductor George Szell, Fleisher permanently injured his right hand leading to a sustained conducting and teaching career.

Some pedagogical food for thought, influenced by his teacher, Arthur Schnabel, one of the most potent interpretive forces of the past century.

. "First hear, then play" . "Forward motion counts big" . "My greatest teacher since Schnabel is teach- ing itself" . "Imitation trains students to hear" . "Everything you need to know is in the score" . "Practice less, think more" . The value, at times, of playing with childlike simplicity. . When occasional departure from the score is warranted. . Three prime challenges of performing.

Only a small sampling of tidbits in My Nine Lives, and how our music making and teaching is truly a reflection of ourselves.