Tuesday, February 24, 2015

Piano Mastery Talks - Reading Together - Lerner


"A teacher can only do a certain amount for you; he can give you new ideas, which each pupil works out for himself in his own way."
(page 38, Kindle Edition)

"In learning a new work I first study it very slowly, trying to become familiar with its meaning."
(page 41, Kindle Edition)

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Tuesday, February 17, 2015

Piano Mastery Talks - Reading Together - Ganz


"The vital thing in piano playing is to bring out the composer's meaning, plus your own inspiration and feeling. You must study deeply into the composer's idea, but you must also put your own feeling, intensity and emotion into the piece. And not only must you feel the meaning yourself, but you must play it in a way to touch others."
(page 35, Kindle Edition)

"I thoroughly believe in preserving one's enthusiasm for modern music, even though, at first glance, it does not attract one, or indeed seems almost impossible."
(page 36, Kindle Edition)

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Tuesday, February 10, 2015

Piano Mastery Talks - Reading Together - Stojowski


"The most vital thing in piano playing is to learn to think. Has it ever occurred to you what infinite pains people will take to avoid thinking? They will repeat a technical illustration hundreds of times it may be, but with little or no thought directed to the performance."
(page 28, Kindle Edition)

"The teacher's work is both corrective and constructive. He must see what is wrong and be able to correct it. Like a physician, he should find the weak and deficient parts and build them up. He should have some remedy at his command that will fit the needs of each pupil."
(page 30, Kindle Edition)

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Tuesday, February 3, 2015

Piano Mastery Talks - Reading Together - Consolo


"At the very bottom and heart of this subject of mastery lies Concentration: without that, little of value can be accomplished. Students think if they sit at the piano and 'practise' a certain number of hours daily, it is sufficient. A small portion of that time, if used with intense concentration, will accomplish more."
(page 24, Kindle Edition)

"Another principle which goes hand in hand with it is Relaxation. Unless this condition is present in arms, wrist and shoulders, the tone will be hard and the whole performance constrained and unmusical. There is no need of having tired muscles or those that feel strained or painful. If this condition arises it is proof that there is stiffness, that relaxation has not taken place."
(page 25, Kindle Edition)

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