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