A website for piano teachers is an excellent idea, as we tend to work in isolation, with few opportunities to share ideas. Many pianists study with only one or two teachers, and tend to accept their methods as though they
were “divine laws”, whereas in reality they are only the ideas of human beings which happen to have taken root. We are sometimes very surprised
to discover that pianists from other parts of the world may be playing in a completely different way.
An example would be the difference between the English method of “arm weight and relaxation”, deriving from Matthay, and the method used in eastern Europe, Russia and the Far East, with a light arm and raised finger action, as exemplified by Leschetizky. I studied first with a “Matthay” teacher and then moved on to a “Leschetizky” teacher, who had studied in Hungary, both of whom were extremely distinguished practitioners. Each style of playing has its own advantages and disadvantages. The English style is ideal for creating a very even legato, and for playing long and difficult pieces without fatigue. On the other hand, it tends to lack drama and contrast, as the parameters of touch and dynamics are somewhat restricted. The overall effect might be described as “soothing”.
The oriental model uses non – legato as the main form of touch. It depends on a strongly enhanced finger action and demands prolonged practice of finger exercises in order to avoid fatigue. The result is an extremely clear and brilliant sound, with considerable scope for dramatic changes in touch, nuance and dynamics. As a result, it has been very widely accepted by leading concert pianists. Nevertheless, there are those who take this method to extremes, adopting an aggressive and heavy – handed approach.
Both of these styles can lead to very acceptable piano – playing. However, I personally do not believe that they can be combined, as the muscular co-ordinations are mutually antagonistic. It is better to decide upon one or the other, and stick to it. Even so, there is no harm in being aware of, and tolerant towards, those who play differently from ourselves. Furthermore, although the basic touch may be completely different, there are many approaches to practising which are equally applicable to both schools. These would include working with hands separately then together, gradually increasing the speed, practising in rhythms, memorising in short sections, and countless others. Other issues of technique include the “shape” of the fingers and the release of the key after the tone has sounded, which I hope to discuss at a later date. More important still are matters of analysis and interpretation, which form a basis of common ground for discussion amongst pianists the world over.
