Anecdotal records for Piano methods and Piano books

1. The Art of Piano Playing Heinrich Neuhaus -This book is arguably the best
single book on piano playing, which it discusses in every aspect from the physical to
the philosophical. It is a mine of information and anecdote, and no serious pianist
should be without it on their bookshelf.
2. The Art of Piano Playing George Kochevitsky - Kochevitsky delves into the
history of piano playing from the finger school to the anatomic-physiological school
to more modern schools where the mind plays a vital part. There is a lot of
invaluable scientific information on the central nervous system and the role of
neurophysiology.
3. Pianists at Play Dean Elder - This inspiring book is a collection of interviews,
master lessons and technical regimes culled from issues of Clavier Magazine over
the years. It features such luminaries as Artur Rubinstein, Claudio Arrau, Casadesus,
Serkin, Lili Kraus, Bachauer, and many other great pianists and teachers. There is a
wonderful illustrated interview with Adele Marcus, entitled Mechanics of an
Advanced Technique together with her technical regime.
4. Speaking of Pianists Abram Chasins - It is a memoir of Mr. Chasins studies
and experiences with the great pianists he knew, including chapters on Rubinstein,
Rachmaninov, Godowksky, Lhevinne and others.
5. Music Study in Germany Amy Fay - This dates from 1869 1875 and is a
series of letters home from American piano student Amy Fay from her European
adventure, and lessons with Liszt, Tausig and others.

6. The Great Pianists Harold C. Schoenberg The classic history of pianists and piano
playing from start (Bach and Mozart) to twentieth century schools. Accordingly, Schonberg has
dug up surviving descriptions, culled from letters, reviews, newspapers, and treatises, and
integrated them into a coherent narrative. There is plenty of evidence not only that piano playing
at that time differed in certain respects from modern playing, but that the ethos of piano-playing
and concertizing was different. Pianists in the heydey of romanticism, much like singers in the
same period, took considerable liberties or what we, at any rate, would today consider
liberties with the score, adding embellishments, inserting improvisations, stretching rhythms,
and so forth. Such playing was not only tolerated, but expected, and was viewed not (as it would
be today) as a daring imposition of the players personality on the composers wishes, but simply
as an aspect of the art of music-making. This approach to piano music began to change in the
early part of the twentieth century. One of the first major talents to advocate for a stricter fidelity
to the printed score as a criterion of good taste was Josef Hofmann, who, writing in around 1925,
wrote:

The true interpretation of a piece of music results from a correct understanding of

it, and this, in turn, depends solely upon scrupulously exact reading A purposed,
blatant parading of the players dear self through willful additions of nuances,
shadings, effects, and what not, is tantamount to a falsification; at best it is
playing to the galleries, charlatanism. The player should always feel convinced
that he plays only what is written.
In baroque music one will sometimes find that, in accordance with period practice, players add
minor decorations when a section of music is repeated, but in music of later periods this happens
rarely, if at all. Fidelity to the score is paramount. As a result, what has emerged in our time is
what might be called an international school of pianism, in which there is relatively little
variation from one pianist to another, and they tend to sound more or less the same.
That this passion for faithfulness to the composers intentions has established itself in our age is
not without paradox. It is essentially an argument from authority, and that it should thrive in a
culture reflexively hostile to authority, and devoted to self-expression, is peculiar, to say the
least. It is at odds, too, with the artistic, and financial, viability of classical music, for the fact that
53 recordings of any given piece are readily available surely provides an incentive for a pianist to
distinguish his reading in some way, but the authority of the score makes it very difficult for him
to do so. I will not be surprised if, in time, the sheer weight of the ever-growing heap of strict
interpretations provokes some pianists to experiment with creative departures from the written
score, reviving something closer to romantic performance practice. Ironically, doing so might
actually be more faithful to the composers expectations for the performance of his music.
Schonberg draws attention to an interesting aspect of the history of pianism: many of the greatest
players have also been the greatest composers for the instrument. This is perhaps not surprising
in itself, but it is sharply different from the state of things today. Today a concert pianist is a
pianist and not (except for rare exceptions) a composer, and a major composer (if any of our
contemporary composers can be said to be major in historical perspective) is a composer and not
a concertizing pianist. The situation was quite different in the nineteenth century; think of
Mozart, Beethoven, Chopin, and Liszt, to name only the top-tier composer-painists. (Men such
as Godowsky and Busoni would make a slightly longer list.) Reasonably enough, the creativity
of their piano music was related to their own virtuosity at the keyboard.
The Great Pianists
From Mozart to the Present
Harold C. Schonberg
(Simon & Schuster, 2006) [1987]
525 p.

7. Practising the Piano Frank Merrick - The book, from the 1950s, contains
some of the universal principles of practising, some personal anecdotes and many
suggestions. Given the personal nature of practising, and the different schools and
systems, youre not going to agree with everything he says.

8. Music at Your Fingertips Ruth Slenczynska It is intended for the aspiring

artist as well as the enthusiastic amateur, this invaluable guide to piano practice
and performance covers every major aspect of pianistic technique. Drawing from
more than forty years experience as a teacher and highly acclaimed performer as
well as from her studies with Rachmaninoff, Schnabel, and Cortot, Slenczynska
clearly demonstrates such basics as the proper use of hand positions, fingering,
pedaling, ornamentation, various fingering touches, and counting. She also gives
detailed instructions on the art of program building, carefully analyzing the concert
programs of Horowitz, Rubinstein, and Serkin and pointing out the strengths and
weaknesses of their program construction. She includes repertoire lists for
performance at various levels of ability, a complete chart of ornament
interpretation, and authoritative advice on posture, sight-reading, rhythm, notelearning, and memorization. Her book is essential reading for all who enjoy in the
piano-beginners, serious students, teachers, and listeners.
9. Etudes for Piano Teachers Stewart Gordon - This book is more for
teachers, and I have found myself referring to it again and again over the years. It is
a collection of essays examining the challenges involved in piano teaching. It has
important information regarding practices on the piano. It focuses on ideas which
prepare piano teachers for meeting the problems encountered in piano performing
and teaching. This collection of essays on the piano teacher's art opens with an
assessment of the role of the piano teacher, and goes on to explore various types of
students and the challenge each presents: the moderately talented, but ambitious,
student; the late beginner; the unusually gifted.
10. The Russian Piano School trans. and ed. Christopher Barnes It offers
a further and fuller insight into the views on technique and interpretation of several
of the 20th centurys greatest Russian teachers and performers. Contributions come
from the elder generation of Alexander Goldenweiser (a friend and contemporary of
Rachmaninov), his pupil Samuel Feinberg, Heinrich Neuhaus and Konstantin
Igumnov, as well as from a younger generation including Yakov Flier, Lev Oborin,
Yakov Zak, and Grigorii Ginzburg, who tutored many master pianists of the present
day. The book addresses several of the major technical and interpretative problems
facing the pianist. This book should be of interest to both piano teachers and
students, to professional performers, and also to many amateurs who aspire to
reach beyond the first foothills of Parnassus.

Part One offers a series of writings that illustrate the philosophy and methods of the school:

The Road to Artistry, Samuil Feinberg

Advice from a Pianist and Teacher, Alexander Goldenweiser

Some Principles of Pianoforte Technique, Lev Oborin

Some Remarks on Technique, Konstantin Igumnov

Notes on Mastery of the Piano, Grigorii Ginzburg

Part Two gives a privileged insight into the classroom methods of various teachers as they work
with students on that repertoire in which Russian artists have always particularly excelled
Beethoven, Chopin, Liszt, Rachmaninov and Prokofiev:

Beethovens Appassionata: A Performers Commentary, Samuil Feinberg

Three Answers to Questions about Beethovens Sonata Appassionata, Sviatoslav Richter

Work on Beethovens Sonata in A major Opus 101, Heinrich Neuhaus

Chopin Etudes (based on classes with Samuil Feinberg), Maria Eshchenko

Reflections on Chopins Fourth Ballade, Yakov Flier

Notes on Chopins Ballade in F minor, Alexander Goldenweiser

Chopins Fourth Ballade in F minor, Konstantin Igumnov

Lessons with Yakov Flier (on Liszts Mephisto Waltz No 1 and Prokofievs Sonata No 3),
Nina Lelchuk Lelchuk
Yakov Zak as Teacher (on Liszts B-minor Sonata, Schumanns Etudes Symphoniques,
and Rachmaninovs Paganini Rhapsody), Olga Stupakova

11. Practical Piano Pedagogy- Martha Baker Jordan - is a comprehensive 468-page

pedagogy text for ALL piano teachers including those future teachers who are
currently enrolled in pedagogy courses in colleges and universities. This definitive
pedagogy text will teach readers how to use any teaching materials in a better,
more organized, and pedagogically sound way. Included with the textbook is a CDROM for Mac or PC, which enables teachers to adapt and personalize more than 40
forms for use in their teaching studios. Informative chapters on the business of
piano teaching, learning styles, methods and materials, technology, jazz in the
traditional lesson, motivation, and teaching tips make this text indispensable for not
only aspiring teachers but also for more experienced ones who desire to improve
and enhance their teaching.
12. The Art of Teaching Piano Denes Agay It is a guide and reference book
for the piano instructor. Covers theoretical, practical and technical matters as well
as piano performance and basic keyboard skills for the young or adult beginner.
Contains numerous charts, glossaries and bibliographies. An essential handbook for
all piano teachers.
13. How To Teach Piano Successfully, 3rd Ed. James W. Bastien - This book
contains a myriad of helpful information and suggestions for piano teachers. Part
One contains helpful hints on setting up your studio and making it more
professional, an overview of different methods of teaching and lists of piano
methods and publishers of piano music.

14. Making Music At The Piano Learning Strategies for Adult Students
Barbara English Maris - Beginners can make music at the piano and play
musically even during the earliest phases of piano study, and this books shows how.
Written for early-level adult piano students of any age, the book enables students to
play gratifying music while continuing to develop their skills steadily, whether they
are working in a private studio or in a piano class environment. Throughout, the
book features numerous Concepts to Consider (focusing on conceptual learning)
and Activities to Explore (whichbuild on the Concepts and emphasize ways to
strengthen the kinesthetic aspects of learning). The author discusses nearly every
aspect encountered by the beginner, from appropriate goals and good playing
habits to the basics of how people learn and how the piano works. She provides a
hands-on explanation of the characteristics of music playing and suggests specific
strategies for using practice time effectively and for developing rhythmic security
and technical control of sound. For students whoto play as well as practice, this
book is the ideal guide.

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