This is so pertinent to our creative learning process at the piano.

Arioso7's Blog (Shirley Kirsten)

Piano students have a lot to learn from string players who have direct contact with their sound source by strokes of a bow. As pianists, we are physically separated from the strings as hammers must be activated by our key depressions, but by listening to the swells of a violin, cello, or viola, hearing shades of color and nuance, we can try to emulate a vast range of tonal possibilities. As a first step, we must imagine what we want to hear and find the means to achieve it.

What about searching the literature of interviews with string players to get the very inside analysis of how they feel about their expressive medium and apply it to the piano.

I found one such exchange on the Internet between the distinguished cellist, *Steven Isserlis and UK music commentator, Tim Janof. (Quotes were extracted from two separate meetings, one transpiring in 1998…

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About arioso7: Shirley Kirsten

International piano teacher by Skype, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC HS of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY and EL CERRITO, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning and Skyped instruction with supplementary videos: SKYPE ID, shirleypiano1 Contact me at: shirley_kirsten@yahoo.com OR http://www.youtube.com/arioso7 or at FACEBOOK: Shirley Smith Kirsten, http://facebook.com /shirley.kirsten TWITTER: http://twitter.com/arioso7 Private fund-raising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches
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One Response to

  1. Comment from Seymour Bernstein, author, With Your Own Two Hands:

    Steven Isserlis is a very wise and perceptive musician. Everything he says
    applies to the piano. If I may, I take exception with one thing: “Teaching
    students to be relaxed, and playing with relaxation.” It has been
    scientifically proved that relaxation is a total myth. Simply holding the
    bow of a stringed instrument, or lifting our hands by means of our arms to
    the keyboard requires contractions of muscles. A more accurate and helpful
    description of the proper condition for playing an instrument, or, for that
    matter, performing any task in life, would be to perform with controlled
    contractions of muscles, no more and no less, depending on what we are
    playing or doing.

    About interpretation, whenever I play my best, I have the feeling that I,
    myself, am not playing at all, but rather, I am being played by the music.

    Seymour

    Like

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