APPROVED: Pamela Mia Paul, Major Professor Bradley Beckman, Committee Member Steven Harlos, Committee Member Benjamin Brand, Director of Graduate

Studies in the College of Music John Richmond, Dean of the College of

Music Victor Prybutok, Vice Provost of the

Toulouse Graduate School

TEACHING LATE INTERMEDIATE-LEVEL TECHNICAL SKILLS THROUGH THE STUDY OF

LESCHETIZKY, VENGEROVA, AND NEUHAUS: EXERCISES OR REPERTOIRE?

Jihyun Lee, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2016

Lee,Jihyun.Teaching Late Intermediate-level Technical Skills Through the Study

of Leschetizky, Vengerova, and Neuhaus: Exercises or Repertoire? DoctorofMusicalArts

(Performance),August2016,62pp.,42musicalexamples,bibliography,38titles.

Tobesuccessfulandbeeffectiveinteaching,onemustbefamiliarwithavariety

ofmethodsininstructionandteachingstrategies.Thisalsoincludesbecomingawareof

any challenges that student and teachersmight confront at all levels. Advanced-level

pianostudents,suchasthosewhoareatthecollegiatelevel,studythemasterpiecesof

thegreatcomposers.However,theymaystillbeinneedofdevelopingcertaintechnical

andmusicalskillswhichshouldhavebeencoveredatthelateintermediatelevel.

Thisstudyfocusesbothonexercisesandonlateintermediate-levelrepertoire.

ThisstudyexaminedthemethodicalapproachesofRussian technicalschoolprimarily

through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich

Neuhausandcomparedtheseexerciseswithpassagesfromappropriategreatliterature

suitable for late intermediate-level students.Thismaynotonly inpreparing formore

advancedpianorepertoirebutalsobroadeninggeneralpianotechniques.All together,

thismayfurtherpromoteinpreventionofmusicalproblemsthatmightoccuratamore

advanced-levelofpianostudy.

ii

Copyright 2016

by

Jihyun Lee

iii

TABLE OF CONTENTS

Page LIST OF MUSICAL EXAMPLES .................................................................................................................. iv CHAPTER 1. INTRODUCTION: PURPOSE AND SIGNIFICANCE .................................................... 1 CHAPTER 2. RUSSIAN PIANO SCHOOL .................................................................................................. 5 CHAPTER 3. EXERCISES ........................................................................................................................... 15

3.1 Leschetizky ....................................................................................................................... 15

3.1.1 Leschetizky as a Teacher ............................................................................... 15

3.1.2 Leschetizky Exercises ..................................................................................... 18

3.2 Vengerova .......................................................................................................................... 28

3.2.1 Vengerova as a Teacher ................................................................................. 28

3.2.2 Vengerova Exercises ....................................................................................... 31

3.3 Neuhaus .............................................................................................................................. 38

3.3.1 Neuhaus as a Teacher ..................................................................................... 38

3.3.2 Neuhaus Exercises ........................................................................................... 40 CHAPTER 4. REPERTOIRE ....................................................................................................................... 45

4.1 Tone Production ............................................................................................................. 45

4.2 Scales/Arpeggios ............................................................................................................ 48

4.3 Legato/Staccato .............................................................................................................. 50

4.4 Octaves/Double Notes/Chords ................................................................................. 52 CHAPTER 5. CONCLUSION....................................................................................................................... 54 APPENDIX: REPERTOIRE FOR THE LATE INTERMEDIATE-LEVEL PIANISTS ................... 55 BIBLIOGRAPHY ............................................................................................................................................ 60

iv

LISTOFMUSICALEXAMPLES

Page

Example1.Exercisesforonefinger………………………………………………………………………….20

Example2.Exercisesfortwo,three,four,andfivefingers…………………………………………21

Example3.Exerciseswithonetoneheld…………………………………………………………………21

Example4.Exerciseswithoutheldtones………………………………………………………………....22

Example5.Preparationexercisesforscales…………………………………………………………….22

Example6.Exercisesforscales……………………………………………………………………………….23

Example7.Scaleswithdynamicchanges…………………………………………………………………23

Example8.Preparationexercisesforbrokenchords………………………………………………..24

Example9.Preparationexercisesforbrokentriadswithoutheldnotes…………………….24

Example10.Exercisesforbrokentriads………………………………………………………………….24

Example11.Exercisesforoctaves…………………………………………………………………………..26

Example12.Exercisesforchords……………………………………………………………………………27

Example13.Exercisesforpairednotes…………………………………………………………………...27

Example14.Accentoneverynote…………………………………………………………………………..33

Example15.Accentoneverytwo,three,four,andeightnotes…………………………………33

Example16.Exercisesforpassingthethumbunder,orwiththeotherfingersoverthe

thumb……………………………………………………………………………………………………………………34

Example17.Exercisesforarpeggios……………………………………………………………………….35

Example18.Exercisesforarpeggioswithoutaccents………………………………………………35

Example 19. Döring, Exercises and Studies on the Pianoforte for the Preparation and

DevelopmentofStaccatoOctavePlaying(G.Shirmer,1902),p.4,mm.1-8….……………37

Example20.Exercisesfortrills…………………………………………….…………………………………37

v

Example21.Exercisesforthirds………………………………….……………………………………….…38

Example 22. Moszkowski, School of Scales and Double Notes for the Piano, Book III

ExerciseA.1,mm.1-3…………………………………………………………………………………………….38

Example23.Exercisefortoneproduction……………………………………………………………….41

Example24.Exerciseforvarietyoftone………………………………………………………………….42

Example25.ExercisesforscalesA…………………………………………………………………………..43

Example26.ExercisesforscalesB…………………………………………………………………………..43

Example27.Exercisesforarpeggios……………………………………………………………………….43

Example28.Exercisesfordoublenotes…………………………………………………………………..44

Example29.J.S.Bach,SinfoniaNo.11inGMajor,BWV.797,mm.1-12……………………46

Example30.L.v.Beethoven,BagatellesinB-flatOp.119,No.1,mm.1-15………………..46

Example31.E.Grieg,LyricPiecesOp.54,No.6Bellringing,mm.30-64…………………...47

Example32.J.RameauNouvellessuitesdepiècesdeclavecin,LaTriomphante,mm.1-

12………………………………………………………………………………………………………………………….48

Example33.F.KuhlauSonatinainGMajor,Op.55No.2,1stmovement,mm.1-11…….49

Example34.F.ChopinPreludeinFMajor,Op.28No.23,mm.1-3…………………………….49

Example35.D.ScarlattiSonatainDMinor,K.9,L.413,mm.1-9……………………………….50

Example36.W.A.MozartVienneseSonatinaNo.6 inCMajor,1stmovement,mm.1-

11…………………………………………………………………………………………………………………………..51

Example37.W.A.MozartVienneseSonatinaNo.6inCMajor,3rdmovement,mm.1-6

………………………………………………………………………………………………………………………………51

Example38.F.ChopinNocturneinCMinor,Op.Posth,mm.4-6……………………………….51

Example39.W.A.MozartVienneseSonataNo.4inB-flatMajor,1stmovement,mm.1-5

………………………………………………………………………………………………………………………………52

vi

Example40.L.v.BeethovenEcossaise,WoO.83,mm.1-17………………………………………52

Example41.MendelssohnSongWithoutWords,Op.19,No.3“HuntingSong”,mm.23-

29………………………………………………………………………………………………………………………….53

Example42.SchumannScenesfromChildhood,Op.15,No.6“ImportantEvent”,mm.9-

16………………….………………………………………………………………………………………………………53

CHAPTER1

INTRODUCTION

Manyexerciseshavebeenwrittenthroughthecenturies,includingsomewhich

areveryacceptedwithoutquestionsuchasthoseofMuzioClementiandCarlCzerny,as

well as others such as Pischna and Hanon, which can be controversial. Prestigious

pianistandteacher,FerruccioBusoni, forexample,preferredtouseexcerptsfromthe

literatureastudentwasworkingoninordertobuildtechniqueattheadvancedlevel.

Butwhat about at the late intermediate level,which is about the time that a serious

student of the piano begins to need a well-organized plan? Advanced-level piano

students, such as thosewho are at the collegiate level, study themasterpieces of the

greatcomposers.However,theymaystillbeinneedofdevelopingcertaintechnicaland

musicalskillswhichshouldhavebeencoveredatthelateintermediatelevel.Successful

teachingrequiresfamiliaritywithabroadrangeofmethodsofinstructionandteaching

strategies,aswellasanawarenessofthechallengesthatconfrontstudentsandteachers

at all levels. A number of articles and dissertations have been written on piano

pedagogy.Theydescribesuccessfulteachingstrategiesandputforwardsuggestionsfor

learningmaterialsandmethods.However,thereisnotmuchofferedthatincludesstudy

guidesspecificallydiscussingtechnicaldevelopmentforlateintermediatestudents.

Since the intermediate area covers a wide range, both the exercises and the

repertoiremustbedividedintothreelevels:earlyintermediate,intermediate,andlate

intermediate.Itiscriticallyimportantthatateachstagetherepertoireisselectedwitha

viewtowardssystematictechnicalandmusicalgrowth.

Thisstudy focusesbothonexercisesandon late intermediate-level repertoire

which canbe used for pedagogical purposenot only in preparing formore advanced

1

piano repertoire but also for broadening general piano techniques and preventing

musicalproblemsthatmightoccuratamoreadvanced-levelofpianostudy.Thisstudy

will examine the approaches from the school of Russian piano technique primarily

through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich

Neuhaus. It will compare these exercises with passages from appropriate great

literature suitable for late intermediate-level students in order to assist teachers to

more fully develop their students’ technique. The pieceswere chosen based on skills

that the exercises begin to train the young pianist for, trying to staywithin the level

expectedofaserious late intermediatestudent,andcoveringsome,butobviouslynot

all,ofthecomposersfromtheBaroquethroughthenineteenthcentury.AnAppendixof

furtherchoices isprovidedat theendof thedissertation.Clearly,noteverypiecethat

mightbesuitablecanbeincludedinthisdissertationorinthisAppendix,sothechoices

aremeantasexamplesonly.Adedicatedteachershouldbeabletousetheseasjumping-

offpointsforfurtherselectionsoftheirown.

There are plenty of method books available for beginning students, and

certainly advanced studentsdonot lack for thewidest possible rangeof greatmusic.

While there is plenty of greatmusic suitable for the development of an intermediate

student,thereappearstobelessfocusedawarenessofthismusicorperhapsalsoless

awarenessofthepedagogicalpurposesthatcanandshouldbeservedbytheliterature

available.

ThepianistandpedagogueScottMcBrideSmith,inhisbookTheWell-Tempered

Keyboard Teacher1, defines intermediate-level as the transitional stage between the

beginning-level and advanced study. The designation of intermediate-level quantifies

1MarienneUszler,ScottMcBrideSmith,andStewartGordon,TheWell-TemperedKeyboardTeacher(NewYork:Schirmer,1999).

2

skills, not age or length of study. It is a teacher’s responsibility to choose repertoire

whichcanmeet theparticularneedsof the individual student.Selectingcompositions

forstudentsisoneofthemostdauntingtasksforteachers,andthisisespeciallytruefor

intermediatestudents.At the intermediatestagestudentsbegin to learn longer,more

difficult pieces which require more sophisticated techniques. Smith offers a list of

technical and compositional characteristics commonly found in intermediate

repertoire:

▪ Melodies becomemore complicated. There ismore frequent use of scale andarpeggiofiguresrequiringfingercrossingsandmorehand-positionchanges.

▪ Rhythmbecomesmorecomplexwithdiversepatternsintroduced.▪ Accompaniments also becomemore elaborate through the use ofmore chord

inversions,differentstyles,andbiggerleaps.▪ Twoormoreindependentvoicesarepresented,sometimesinthesamehandor

between the hands with increased use of intricate articulations, contrastingdynamics andnotevalues.Betterbalanceandvoicing skills are requiredwiththerequisiteincreasedvarietyoftone.

▪ Richerandmoreintricateharmonyandtexturearepresented.Doublenotesareintroduced,aswellasmorechallengingpedalwork.

▪ Technicalpracticebecomesmoreinvolvedaspiecesbecomemoredifficult.Thisnecessitatesmoredrillsofscales,arpeggios,exercises,andetudes.2

AttheSecondNationalConferenceonPianoPedagogy,RitaFuszekpresenteda

paperentitled“TheBlackHole,”emphasizing“theimportanceofexploringtheworldof

intermediatepiano literature-anareathat isoftenavoidedincollegepianostudents’

backgrounds.”3

Wemust thank our colleagues in the science domain for the discovery of the"black hole" forwe inmusic have one also. This black hole inmusic becomesacuteinthepianopedagogycourses.Somethingincrediblehappensbetweenthebeginning material and the collegiate repertoire. The leap between JohnThompson,BookThree,andthefirstBeethovenSonatacreatesamind-boggling

2Ibid.,82.3PamelaNicoleWilson,“APracticalGuidetoExploringIntermediatePianoLiteratureFoundinCollections:TheDevelopmentofaComputerDatabasetoSelectPianoRepertoireFromCollectionsFortheIntermediateStudent”(DMAdiss.,UniversityofAlabama,2000),4.

3

situation. This is the “black hole" into which too many pianists seem todisappear... It isaphenomenonthathasnotchangedoverthethirteenyearsofdevelopingthepianopedagogycoursesinappliedteaching.4

Josef Lhévinne, one of the greatest Russian pianists emphasized the importance of

learningstep-by-step:

InRussia,teacherslaygreatstressuponcarefulgrading.Manyteachersofnotehave prepared carefully graded lists of pieces, suitable to each stage ofadvancement.IunderstandthatthissamepurposeisaccomplishedinAmerica…IhavehadnumerousAmericanpupilsandmostofthemseemtohavethefaultofwantingtoadvancetoahighersteplongbeforetheyarereallyable.Thisisverywrong,andthepupilwhoinsistsuponsuchacoursewillsurelyrealizesomedaythatinsteadofadvancingrapidlyheisreallythrowingmanyannoyingobstaclesdirectlyinhisownpath.5

He also said, “The teacher often makes the mistake of living up in the clouds with

Beethoven,Bach,Chopin,andBrahms,neverrealizingthatthepupilisverymuchupon

theearth, and thatnomatterhowgrandly the teachermayplay, thepupilmusthave

practicalassistancewithinhisgrasp.”6

4MaryScanlan,“TheStructuring,Analysis,andTeachingOfIntermediatePianoRepertoire:AnApproachforUseInAPianoPedagogyCourse” (paperpresentedatthemeetingfortheNationalConferenceonPianoPedagogy,Oakbrook,Illinois,October20-22,1988).5JamesFrancisCooke, comp.GreatPianistsonPianoPlaying:Godowsky,Hofmann,Lhévinne,Paderewskiand24OtherLegendaryPerformers(Mineola,NY:DoverPublications,1999),173-4.6Ibid.,174.

4

CHAPTER2

RUSSIANPIANOSCHOOL

Christopher Barnes’ The Russian Piano School: Russian Pianists and Moscow

ConservatoireProfessorsontheArtofthePianooffersinsightsintotheschoolofRussian

pianism.Hewrote in his book, “The artistry ofRichter, Gilels, Ashkenazy, or recently

emergent masters clearly transcends any process of formal teaching, the perennial

ability ofRussianpianists to take leadingprizes in international competitions, andof

theirmentorstoattractpupilsanddisciplesfromaroundtheworld,hasinevitablyled

to the Russian piano school.” He added that in some of the most prestigious music

schoolsintheUnitedStatessuchastheJuilliardSchoolorCurtisInstitute,someofthe

20th century’s most compelling teachers such as Josef and Rosina Lhévinne, Isabelle

Vengerova,andJosefHofmann,originally trained inRussia,wereprominentmembers

ofthefaculty.7

The Russian piano tradition traces back to the late eighteenth century when

WesternEuropeanmusiciansvisitingRussiabegantoinfluencemusicallifethere.Great

pianistssuchasJohnFieldandAdolphvonHenseltvisitedRussiaandhadperhapsthe

earliest influence on Russian piano pedagogy. John Field, a pupil of Muzio Clementi,

enjoyedparticularpopularity.TheRussianaudienceespeciallyadmiredhisdelicateand

precise touch, smooth phrasing, and extraordinary technique. The singing quality of

Cantabile style made a great impression on pianists there and became one of the

importantcharacteristicsofRussianpianism.8

The school of Russian pianism began to achieve international recognition

7 Christopher J. Barnes, ed. The Russian Piano School: Russian Pianists and Moscow ConservatoireProfessorsontheArtofthePiano(London:Kahn&Averill,2007),ix.8 Irena Kofman, “The History of the Russian Piano School: Individuals and Traditions” (DMA diss.,UniversityofMiami,2012),11.

5

beginning in the second half of the nineteenth century. In 1862, Anton Rubinstein

(1829-1894)foundedtheSt.PetersburgConservatorywhichwasthefirstconservatory

inRussia.Nationalistic traitsbecameevidentandadistinctstyleofpianoplayingand

teachingarose.9AccordingtoHaroldSchonberginTheGreatPianist,

Russianpianismreflecteda traditionstemming largely fromAntonRubinsteineventhoughindividualartistshadtheirownstyle.However,certainlytherearecommon characteristics that Russian pianists have: a warm sound, anextroverted quality, a good deal of controlled freedom, a generosity ininterpretation,anability tovary rhythmswithoutever losing thebasicmeter.ContrastedtotheGermanschool,[Russianschool]characterizedasmoresevereandintellectualized,ortheFrenchschool,characterizedasclear,logical,fastintempos, on top of the keys with less color and sonority of the Germans andRussian.10

Rubinstein’s piano playing was distinguished by a powerful sound, full or

orchestral color, and by the singing quality of his tone. Ossovskii described his

performanceas“mighty,poetic,well-thoughtout,andheartfeltconceptionofthewhole

and the titanic embodiment of it in sounds.”11Rachmaninov recalled his memory of

Rubinstein’splaying:

Inmyopinion,noneofthecontemporarypianistscouldevencomeclosetothe greatest, Anton Rubinstein, whom I had a privilege of hearing manytimes… There is a huge goal for all of us. It is to be compared withRubinstein.12

Rubinsteinputastrongemphasisonexpressionofhumanemotionthroughthepiano

whichhedeemed theprincipalpurposeofmusical interpretation.TheRussianschool

thusevolvedtofeaturenotonlyaspectsofsoundandsingingline,butalsoexpressions

9HaroldCSchonberg,TheGreatPianists(NewYork:SimonandSchuster,1987),288.10Ibid.,293.11John Anthony Rego, “Skryabin, Rakhmaninov, and Prokofiev as Composer-Pianists: The Russian PianoTradition,Aesthetics,andPerformancePractices”(Ph.Ddiss.,PrincetonUniversity,2012),48.12Kofman, 18. Kofman’s own translation of the book, Russkie pianisty (Russian pianists), (Moscow:Muzyka,1948),312.

6

ofemotionandintuitionratherthanintellectualanalysisandimpersonalrationality.13

This romantic approach became an essential attribute of the Russian Piano School.

Naturally, in order to achieve the aforementioned, a well-trained technique was

indispensable.

Another influential figure at the St. Petersburg Conservatory was Theodor

Leschetizky (1830-1915). Rubinstein and Leschetizky shared many ideas on piano

pedagogical methods. If a student wanted theoretical instruction he went to

Leschetizky; in turn Leschetizky told his students to observe Rubinstein’s tone, his

pedaling, his breathing and relaxation. Leschetizky’s piano playing is described as

featuring archedhands, flexiblewrists for octave and chord passages, skillful fingers,

and use of arm weight.14He was Polish by birth and studied with Czerny in Vienna

where Leschetizky began developing many famous pianists. Leschetizky eventually

settled in Russia and taught at the St. Petersburg Conservatory from 1852 to 1877,

wherehedevelopedasignificantpianopedagogicalschool.15FollowingFranzLiszt,the

mantle ofmost eminent teacher and pianist of the Romantic traditionwas passed to

Theodor Leschetitzky. 16 His students included many world famous pianists and

teacherssuchasVasilySafonov,AnnetteEssipova,IgnacyPaderewski,ArturSchnabel,

IgnazFriedman,andmanyothers.Ironically,noneofthesesuccessfulstudentssounded

orplayedalike.Thisistestimonytohisstatedbeliefthat“IhavenomethodandIwill

havenomethod.”Leschetitzky’sstudentspassedonthetraditionofRussianschool to

13Ibid., In one of Kofman’s footnotes, shementioned that “in the last decade of the twentieth century,intellectualandanalyticalplayingbecamefashionableincertaincirclesofRussianmusicians.”14Thomas Lee Fritz, “The Development of Russian PianoMusic as Seen in the Literature ofMussorgsky,Rachmaninov,Scriabin,andProkofiev”(DMAdiss.,UniversityofSouthernCalifornia,1959),82.15ReginaldR.Gerig,FamousPianistsandTheirTechnique(NewYork:RobertB.Luce,1974),294.16Patricia Hammond, Three Hundred Years at the Keyboard: A Piano Source Book from Bach to theModerns:HistoricalBackground,Composers,Styles,Compositions,NationalSchools (Berkeley, Calif.: RossBooks,1984),280.

7

latergenerations.

Nikolai Rubinstein (1835-1881), Anton Rubinstein’s brother, founded the

Moscow Conservatory in 1864. Many of the piano faculty members at the Moscow

Conservatory were brought from St. Petersburg. The preeminent pedagogues there

consistedofTaneyev,Pabst,Safonov,andZverev.Theywererecognizedaspillarsofthe

Russian Piano School around 1900 and made enormous contributions to piano

pedagogy. They also produced great pianists and composers such as Sergei

Rachmaninov,AlexanderScriabin,andNikolaiMedtner.

SergeiTaneyev(1856-1915)wasacomposerandgreatpianistwhowasknown

tohave a flawlesspiano technique.Hewas a close friendofTchaikovskyandhe also

premieredthesolopartofallTchaikovsky’sworksforpianoandorchestrainRussia.As

a pedagogue, he followed thepedagogicalmethodsof his teacher,NikolaiRubinstein,

both in conceptualizing and understanding music. 17 He imparted Rubinstein’s

pedagogicalprinciples tohisstudentsand foundedanorganizationcalled“Rubinstein

lunches,” tocontinue the traditionofNikolaiRubinstein. Inaccordancewithhisbelief

thatthecontemporaryRussianrepertoireshouldbesupportedbyperformersinorder

toestablishamoredesirablenationalperformanceschool,he incessantlyexposedhis

studentstotheRussianmusicofAntonRubinsteinandTchaikovsky.18

PaulPabst(1854-1897)wasacomposerandpianovirtuosowhosepianismwas

acclaimedbyTchaikovskyandRachmaninovandmanyothers.HetaughtattheMoscow

Conservatory from 1878 until his death, gaining a great reputation as a teacher. He

placedspecialemphasisoninterpretingmusicaccordingtothestudyoftheaesthetics

ofvariouscomposersanddifferenteras.Healsoemphasizeddevelopingartistryrather

17Rego,74.18Ibid.,77.

8

thanworkingonstudents’technicaldeficiencies.19

VasiliSafonov(1852-1917),anoutstandingstudentofLeschetizky,wasagreat

pianist and a pedagogue and was a worthy successor to the best traditions of the

Moscow and St. Petersburg Conservatories. He was a piano professor at the St.

PetersburgConservatoryuntil1885,andin1889movedtotheMoscowConservatory.

Inhis teaching,heemphasized technicaldevelopmentaswellasmusicalmastery.His

pedagogical ideas combined Russian pianistic tradition with ideas from western

Europeanpedagogy.One of Safonov’smost valuable contributions to piano pedagogy

wasthecreationofhisowntechnicalmethod.Hesubstitutedmusicalliteratureinplace

ofmechanicalexercises,yethedidnot totallyavoid theuseof technicalexercises.He

insisted that technical practice should not be worked mechanically, but rather with

consideration of tone, rhythm, and dynamics.20His newmethod inspired students to

discoverbothtechnicalandartisticnotionsinaparticularwork.In1916,hepublisheda

bookonpianotechniquetitledNovayaformula(newformula).

Nicholas Zverev (1832-1893) was one of the foremost piano teachers at the

MoscowConservatory.He focused on training young studentswho lived in his home

andstudiedunderhisguidance.Thesestudents includedSergeiRachmaninov,Leonid

Maximov, Matvei Pressman, and many others. After the lower level of study with

Zverev,thestudentswouldproceedtotheupperlevelofstudywithSiloti,Safonov,and

Pabst.21MuchofZverev’spedagogywasfocusedonhandplacement.Hisbasicprinciple

ofphysicalmovementwasthatthehandsshouldnotbestiffandexcessivearmmotion

19Ibid.,78.20Robert K. Wallace,A Century of Music-making: The Lives of Josef & Rosina Lhévinne (Bloomington:IndianaUniversityPress,1976),22.21Wallace,30,32.

9

shouldberestricted.22

IsabelleVengerova(1877-1956),alsoastudentofLeschetizky,wasarenowned

pianistandpianopedagoguewhotaughtLukasFoss,SamuelBarber,LeonardBernstein,

andGaryGraffman. She taught at the St. PetersburgConservatorybeginning in1906,

movedtotheUnitedStatesin1923andtaughtattheCurtisInstituteofPhiladelphiaand

MannesCollegeofMusicinNewYork.ASovietpianistandmusicscholarVitalyNeuman

wrote, “She creatively elaborated the pedagogical principles of her own teachers

LeschetizkyandAnnetteEssipova,butintroducedalsoherindividualcharacteristics.”23

Both the St. Petersburg andMoscowConservatories played a vital role in the

growth of Russianmusic. A prominentRussian critic, Boris Asafiev, talked about this

periodfromtheendof1880totheRussianRevolutionof1917,callingit“atimeofhigh

emotional temperature.” Similarly, Kofman said it was “the golden age of Russian

piano.”24The piano training at both conservatories during this timewas exacting, as

ThomasFritzdescribesinhisdissertationaboutthetrainingduringthelastdecadeof

thenineteenthcentury:

AsdescribedbyJosefLhévinne,thenormalcoursecontinuedforeightornineyears. The first five of these were devoted largely to the development oftechnical facility through thepractice of exercises, scales and arpeggios.Onlystudentswhomasteredthisstagesuccessfullywerepermittedtoenterthefinalthreeyearscourse,whichwasdevotedtotheadvancedmaterialsoftheartist.The necessity of having to play without music during lessons forced thedevelopmentofaprodigiousmemory…Originalityasaqualityofperformancewasnotdiscouraged,buteccentricorhighlymanneredstyleswereconsideredpoortasteandsignsofimmaturity.25

In the late nineteenth century Russian pianism reinforced the pedagogical

22Fritz,84.23Geric,313.24Kofman,23.25Fritz,84.

10

methodsofstricttraining.ThispracticewascontinuedbyEssipovinSt.Petersburgand

MedtnerinMoscowinthetwentiethcentury.Theconceptthatanartistshouldaimto

address and master all musical and technical problems was also developed. Also, a

pianist’sabilitytointerpretmusicofdifferentperiodsinastylisticallycorrectmanner

whilestillpreservingone’sartisticindividualitywasadvanced.26

Duringtheearlytwentiethcentury,thegovernmenttookaprofoundinterestin

the conservatories and supported them for the purpose of producing marvelous

musiciansatthesametimeastheycontrollededucationalpolicyandcurriculum.27The

conservatorieshadastrictsystematicalapproachfor trainingmusicians.Ontheother

hand,theteachersstrivedforfaithfulinterpretationofmusicandafreedomofartistic

expression.

Following the revolution of 1917, most of the Moscow Conservatory piano

faculty stayed in Russia. Themost illustrious piano pedagogues in twentieth century

Russia include Blumenfeld, Igumnov, Goldenweiser, Nikolayev, and Neuhaus. They

continuedthelegacyofRussianpianismandreconcileditwiththeindividualityoftheir

performance style. Most notable among their students were Emil Gilels, Sviatoslav

Richter,VeraGornostaeva,YevgenyMalinin,LevNaumov,BorisBerezovsky,andmany

others.

Despitethedifferencesintheirapproachtopianopedagogy,theyhadacommon

viewoftheartofpianoplaying.ElenaNazarovasummarizedthecommontraitsofthe

pedagogicalmethodsintwentiethcenturyRussia:

▪ Perceptionofthedutyasanartist▪ Broadknowledgeofmusicandwideculture,artistictaste,loveofmusic

26Rego,73.27Fritz,86.

11

▪ Highexpectationsonboththeteacherandthestudent▪ Refining students, both as amusician and a person, through the formation of

theirattitudes,spiritualities,andpersonalities,andartisticindependence▪ Onthescore,analysisofthecomposer’sintentionwhicheventuallyleadtoone’s

owninterpretation▪ Aconstantattentionontoneproduction▪ Technique was aimed at insightful interpretation, projecting the right sound,

withthenaturalmovementofthehands▪ Acommitmentofrepertoire28

Konstantin Igumnov (1873-1948) taught at the Moscow Conservatory from

1899untilhisdeath.Hismusicalinterpretationisdescribedasdeeplyricismcombined

with a spiritual identification with virtuosity. As a renowned pianist, Igumnov

premieredRachmaninov’sSonatainDminorandRhapsodyonaThemeofPaganiniin

Russia.Asateacher,heplacedgreatemphasisonsingingqualityforphrasingandtone

production.Healsostressedfreedomofthearmandhand,well-cultivatedfingers,and

useofweightwhichlinkedallofthehand,upperarm,shoulder,andtorso.29Hestated

that,

…asregardssonority,andeconomyofmovement,asenseofweightplaysanenormousrole…”30Hisadviceoncultivatingthemostsubtlenuanceswastopossess a perfect control of a performance led by sensitive inner ear. Hecalledthis“theapproachfromwithin.31

Alexander Goldenweiser (1875-1961) was a respected pianist, composer,

editor, and teacher who taught more than two hundred students. He was a true

inheritor of the original Russian pianism of Safonov, and Siloti. He believed that the

main task of the performer was to study the score thoroughly, understanding the

composerandhishistory,andmemorizebyheart.Intermsoftechnique,hewrotethat,

28Rego,87.29Barnes,81.30Ibid.31Kofman,102.

12

I do not think anyone would ever suggest that the process of physicalmovementshouldactuallyimpedeapianist’sartisticintentionsorthesoundimageshetriestoproject.Butthereisnodoubtthatbodilymovementsplayaprimaryroleintherealizationofourartisticaims.32

Goldenweiserwasaseriousmusicianandteacherwhotreatedeverythingverygravely

withanintellectualapproachwhichwasoftencriticizedbyhiscolleagues.33

LeonidNikolayev (1904-1934)was a prestigious pianist, composer, historian,

and professor of the St. Petersburg Conservatory from 1909 until 1942. Among his

famousstudentswereSofronitsky,Shostakovich,Yudina,Serebryakov,andBogdanov-

Berezovsky. Nikolayev’s piano teaching methods were based around the goal of

achieving beauty of sound. Hismethod of achieving thiswas to focus on the natural

movementsfromshoulderstothefingers.

Heinrich Neuhaus (1888-1964) is recognized as one of the most influential

figuresinRussianpianopedagogy,andhisbookObiskusstvefortepiannoyigrï(TheArt

of Piano Playing)34is invaluable to serious pianists and their teachers.35His teaching

activity at theMoscow Conservatory began in 1922 and continued there until 1964.

Neuhaus claimed in his book that the technical aspect of piano playing has to be

absolutelyattheserviceoftheartisticdemandsofthemusicandthisholdstruefrom

the early stage of learning.36In terms of technique, he opposed the use of technical

exercisesorstudies.Hestated,“Whenachildplaysanexerciseorstudy,apiecewhichis

purelyinstructiveanddevoidofartisticcontent,hemay,atwill,playfasterorslower,

louder or more softly, with or without nuances; in other words, there is in his

32Barnes,61.33Kofman,107.34HeinrichNeuhaus,TheArtofPianoPlaying(London:Kahn&Averill,1993).35Gerig,293.36Neuhaus,2.

13

performance an inevitable element of uncertainty, an arbitrary quality; it will be

“playingasitcomes”(andveryoftenitdoesn’t“come”).37Inhisteaching,thetechnique

itself had less priority than musical interpretation. Nevertheless, he demanded solid

technique from his students. He produced many world-renowned pianists including

SviatoslavRichter,EmilGilels,StanislavNeuhaus,ElisoVirsaladzeandRaduLupu.

37Ibid.,11.

14

CHAPTER3

EXERCISES

In order to examine the implications of the Leschetizky, Vengerova, and

Neuhausmethods, it is important tounderstandbroadprinciplesof their artistic and

pedagogical philosophy, as well as how those qualities apply to theway they taught

students.

3.1 Leschetizky

3.1.1 LeschetizkyasaTeacher

Two of Leschetizky’s pupils wrote books about his teaching. Annette Hullah

wrote Theodor Leschetizky,38and Ethel Newcomb wrote Leschetizky as I KnewHim.39

Bothbooksarememoirsoftheiryearsashispupils,teachingassistants,andfriends.In

their books, they described Leschetizky as a pianist, composer, teacher, and a man.

Accordingtotheirbooks,Leschetizkyregardedhisstudentsashisfamilyandwantedto

knowaboutstudents’lives,suchastheirpersonalities,moralmaturity,theirmannerof

dress, and the relationships they surrounded themselves with that would influence

their individual musical growth. He believed that one’s artistry is inextricably

associatedwith one’s life experiences.Accordingly, he rarely gave great repertoire to

thosewhomhefelttobestillyounganduntried.Hethoughtanimmaturenaturecannot

understand or draw sincere expression from certain great works unless they have

learnedatleastsomelifelessons.40

In Leschetizky’s piano lessons, he took pleasure in experimenting with his

38AnnetteHullah,TheodorLeschetizky(London:J.Lane,1906).39EthelNewcomb,LeschetizkyasIKnewHim(NewYork:DaCapoPress,1967).40Hullah,46.

15

students, inventing unique fingerings or particular exercises for unusual cases.41He

frequently used good similes to make appropriate suggestions for each student. He

rarelytheorized;rather,hespoketothepointinapracticalwaywhichwasintelligible

andpermanentintheirminds.Leschetizkytoldhisstudents,forinstance,“Yourfingers

are like capering horses, spirited andwilling, but ignorant of where to gowithout a

guide.Putonyourbridleandcurbthemintilltheylearntoobeyyou,ortheywillnot

serveyouwell.”42

Leschetizkytrustedthataconsiderableamountoftimewouldbespentstudying

eachpiecethoroughlyineverydetailfromthebeginningstagesoflearning.Afterawork

hadbeenstudied,heexpectedthatastudentwouldpracticemeasurebymeasureata

slow tempo and play every part accurately. After this process was done, they were

expected to visualize themusicwithout the score. Leschetizky also insisted that long

hoursofmindlesspracticewoulddiminishone’sconcentration.Habitualrepetitionofa

phrasewithoutthinkingbeforeeachrepetitionwasdiscouraged.43

Leschetizky thought that good sound production begins with deliberate

listeningtooneself.OnceLeschetizkytalkedtoNewcombabout“athreefoldprocessof

mind,eye,andear”inwhich,“thelackofoneofthoseessentialsoftalentwasaserious

matter in the development of an artist…”44And he added, “Listening to the inward

singingof aphrasewasof farmorevalue thanplaying it a dozen times.”45Moreover,

accordingtoNewcomb,Leschetizkyrecommendedtohisstudentsthataftereveryhour

ofpracticetheyspendanotherhour inthoughtawayfromthepiano.Leschetizkysaid

41Ibid.,58.42Ibid.,62.43Newbomb,18.44Ibid.,11.45Ibid.,18.

16

“one’sbeststudycouldbedoneawayfromthepiano…onecouldmoreeasily imagine

thebeautiesofmusic,thanonecouldrevealtheminactualplaying”46Healsostressed

that a piece should be fullymemorized by the brain. Brée described the process of

practiceandstudy:

Afterthefingershavebeenproperlygovernedbythoughtforsomeweeks…Then the mental effort may be more fully concentrated on the study ofpieces…Thoughtisindispensableinthestudyofpieces,astheyarelearnedfirstbythebrain,andfromthatbythefingers.Memorizingisimportant…itispermanentlymasteredby thebrainwithoutcreatingany faultyhabitsoffingering… analyze the harmonies and decide upon the fingering andpedaling.Playtheleadingsectionslouder,andthesubordinatepartssofter;butdonotputingreatexpressionbeforethemusicislearned.Nextreadthepracticedmeasuresthroughcarefullywiththeeye…themusicwillbemadetostandoutclearlyinmentalvision…Ifanoteisforgotten,itshouldnotbegroped forby the fingers,norshould thepassagebecontinuedbyear.Thestudentshouldstopandtrytothinkofthenotementally,lookingatthepageasalastresort.47

According to Hullah, Leschetizky was very broad minded with regard to his

method.Heconsideredeachstudent’sindividualityandassertedthattherewasnoone

methodthatcouldbeapplicableforallstudents.Inotherwords,histeachingapproach

wastorecognizeastudent'sindividualqualitiesandcultivatethestudent’sownspecial

gift.Anymethodwhichhelpedastudenttoachievemasterywouldbeembracedbyhim.

Leschetizkysaid,“Ihavethoughtoverthesethingsallmylife,butifyoucanfindbetter

waysthanmineIwilladoptthem–yes,andIwilltaketwolessonsofyouandgiveyoua

thousandguldenalesson.”48InLeschetizky’swritingtoCarlStasnyoftheNewEngland

ConservatoryofMusic in June1915,hemaintained that “Ihavenomethodand Iwill

havenomethod.”49:

46Ibid.47MalwineBrée,TheBasisoftheLeschetizkyMethod(Mineola,NY:DoverPublications,1997),57.48Hullah,34.49Newcomb,107.

17

Iampersonallyagainstanyfixedprincipleininstruction.Everypupilmust,inmyopinion,betreateddifferentlyaccordingtocircumstances…Mymottois that with a good, yes a very good teacher, no printed method will beeffective, and only he is a good teacher who can practically demonstrateeverypossibilitytohispupils.50

Inaddition,Hullahstatesthathismethodwasnotatechnicalsystem,“includingadvice

on musical matters, but a system which makes its primary aim the study of music

writtenforthepiano;itssecond,thatoftheeffectstobeobtainedfromtheinstrument;

itsthird,thatofthedevelopmentofthehand.”51

Even thoughLeschetizkyavowed thathehadno specialmethod, it is obvious

that he recognized the importance of technique. Also, like his teacher Czerny, he

specialized in the art of technical virtuosity and believed firmly that it was

indispensabletoachieveanadequateinterpretation.Leschetizkynotedthat,“Technique

wasverylittlevaluedinitself,andwasusefulonlyasameansofexpressingbeauty.”52

3.1.2LeschetizkyExercises

Leschetizkyneverpublishedhisownexercisesormethod;however,hisstudent

andassistant,MalwineBréewroteabook,TheGroundworkoftheLeschetizkyMethod,53

anddedicatedittohim.Shecollectedandorganizedtheexercisesandetudesthatwere

usedinlessonstotrainpreparatory-levelstudentsforeventuallessonswiththemaster.

Leschetizkywrotetoher:

Mybestthanksforthededicationofyourbook,whichIofcourse,acceptmostgladly.Asyouknow,IamfromprinciplenofriendoftheoreticalPiano-methods;

50WilliamLeslieSumner,ThePianoforte(NewYork:St.Martin’sPress,1966),186.51Newcomb,40.52Ibid.,11.53Malwine Brée,Die Grundlage derMethode Leschetizky,mit ermächtigung desMeisters herausgegebenvonseinerassistentin.OriginallypublishedbyB.Schott'sSöhne,Mainz,1902.Thisdissertationuses theDoveredition,TheBasisoftheLeschetizkyMethod:AGuidetoFineandCorrectPianoPlaying. (Minelola,NY:DoverPublications,1997).

18

but your excellent work, which I have carefully examined, is such a brilliantexpositionofmypersonalviewsthatIsubscribe,wordforword,toeverythingyouadvancetherein…Ideclareyourbooktobethesoleauthorizedpublicationexplanatoryofmymethod,andwishitallsuccessandpopularity.54

In her book, Brée demonstrated several exercises recommended by Leschetizky. He

assignedmanyexercisestohisstudentstobuildstrengthofthehands,buteachpractice

was in accordance with the students’ individual hands. Leschetizky’s preparatory

exercisesareinnovativeandeffective.Theexercisesareshortandsimple,concentrating

onbothfingersandthewristandnotdiscussingarmmovement.

Leschetizkytaughthisstudentstohavegoodpostureatthepiano,whichwould

bethebasisforaclearandeasyexecution.Hehatedanymannerofhistrionicsignsor

motions in piano playing which diminished simplicity and efficiency of movement.55

Position of the handwasofprimary importance toLeschetizky.Brée defined awell-

trained hand as “broad, flexible in the wrist, equipped with wide finger-tips, and

muscular.”56Thehandshouldbeinanarchedshapeinordertogetfullstrengthinthe

fingerstroke,andthefingersshouldbealittlelowerthantheknucklesbutthethumb

shouldstrikethekeywithitstipsideedge.

54Ibid.,4.55Bret Serrin, “The Legacy of Theodore Leschetizky as Seen Through His Pedagogical Repertoire andTeachingStyle”(DMAdiss.,UniversityofNorthTexas,2010),19.56Ibid.,5.

19

3.1.2.1 FingerExercises

Brée presents some general rules for the finger exercises. First, the exercises

shouldbeplayedwithalighttouch,evenly,withequalqualityoftone.Second,inorder

to avoid injury, it is prohibited to repeat the exercises to the point of physical

exhaustion. Third, while playing, lower and raise the wrist between repetitions to

prevent hand stiffness. Fourth, the fingers should keep a curved shape when raised

from the keys. Fifth, pay attention to finger-tips to ensure that they strike the keys

accurately.Lastly,theblackkeysshouldbestruckwithoutstretchedfingersratherthan

rounded.57

Thesimplestexercisesareshowninexample1.Pressdownall fivekeys,raise

onefingerandexerciseitwhileholdingdowntheotherfourfingers.Toexercisefingers,

the quarter notes should be played with a tone that is warm but not harsh. After

practicingthroughtheseexerciseslegato,practicethemstaccato.58

Example1.Exercisesforonefinger

Aftercompletingtheexercisesforonefinger,thestudentshouldprogresstoexercises

fortwofingers,thenthree,thenfour,thenfive.(SeeExample2.)Thesameapproachis

suggestedasExample1.

57Ibid.,7.58Ibid.,9.

20

Example2.Exercisesfortwofingers

Exercisesforthreefingers

Exercisesforfourfingers Exercisesforfivefingers

ThefollowingexampleillustratesafingerexercisewithonetoneheldandExample4is

onewithoutheldnotes.ThesameapproachissuggestedasExample1.

Example3.Exerciseswithonetoneheld

21

Example4.Exerciseswithoutheldtones

3.1.2.2 Scales

Leschetizky suggested the following exercises for scale practice. The main

purposeoftheseexercisesistoacquirefreedomofthethumbwhenmovingitunderthe

otherfingers.Example5isthepreparatoryexerciseforscales.Bréepointedoutthatthe

most difficult part of scale playingwas “passing the thumb under after three or four

notes.”59

Example5.

Preparationexercisesforscales

Asshowninexample6, thethumbispassingunderthe fingersandmovesbackto its

normalpositionassoonas ithasreleasedthekey.The forearmshouldnot followthe

changing hand shapes when the thumb turns under, and instead shouldmove along

smoothlyandsteadily.Thewristshouldnotmoveupordownbutbeheldcomfortably,

whilethefingersarecurved.Bréestatedthattheseexerciseswouldhelpto“minimize

theunconscious tendency to startwithemphasiswhen the thumb is turnedunderor

59Ibid.,12.

22

thefingersswungoverit.”60

Example6.Exercisesforscales

Brée recommended practicing scales slowlywith a firm and even touchwithout any

accents. One can gradually increase the speed and change dynamics later on. (See

Example7.)Infastertempi,itshouldbeplayedwithquasi-detachedfingersinorderto

make a pearly sound. The scales can be practiced in contrary motion and parallel

motionineverykey.

Example7.Scaleswithdynamicchanges

60Ibid.,13.

23

3.1.2.3 Arpeggios

The following exercises (Example 8) are for broken chord playing with and

withoutheldnotes.Thehands shouldbekeptarchedand fingers remaincurved.The

wristshouldmoveupanddownwhilecontinuingtoplay.Thearmshouldmovesteadily

withoutjerkingandfollowthedirectionofthenotes.

Example8.Preparationexercisesforbrokenchords

Example9.Preparationexercisesforbrokentriadswithoutheldnotes

Example 10 is a series of exercises for broken triads. These exercises should be

practicedinfundamentalpositionandinversionsofCmajoratfirst,thenmustbedone

ineverykey.

Example10.Exercises

forbrokentriads

24

3.1.2.4 Articulations

Leschetizky placed the utmost emphasis on tone, saying “it is the tonewhich

makesmusic.”61InChapterXIV, “VarietiesofTouch,”Bréeexplainsthepurposeof the

fingerexercises,whichistodevelopthevarietiesoftouchandwarmfullnessoftone.In

discussingLeschetizky’sapproachtovarietiesoftouch,Bréewroteabouthowtoplay

legato,fingerstaccato,andwriststaccato.Forlegato,eachfingermustremaininthekey

until the next finger is played. In order to produce a full singing tone, andwhen the

fingerstrengthisnotsufficient,wristpressuremustsupportinthefollowingway,

The key-surface is touched lightly and the finger then forced down by amovement of thewrist that brings the latter upward.Wrist and the fingerjointsbeingheldfirm,thewristtendstoswingthehanddown,butismovedupby the resistanceof thekey.Theweightof the forearm is thusbroughtinto play… Immediately after striking, thewristmust return to its normalposition,andthefingerholdsthekeydownlightly.62

Forstaccato,fingersstrikeabovethekeyinsteadofpressingdownandrelease

immediately. The finger staccato is considered as non-legato. The fingers should be

raised high, the wrist may be bent back a little, and power is provided from the

knuckles.Thewriststaccatoisplayedwithbentfingersstrikingthekeysandathrowing

backmotionofthewrist.

3.1.2.5 Octaves

Bréedescribedanexerciseforoctavesinwhichoctavesshouldbeplayedwith

thereboundingwriststaccato.Whenplayingforteorfortissimooctaves,onemustplay

witha firmforearmandthewristheldhighbut firmlywhile the fingersmovenot far

abovethekeys.Thesameideaworksonlegatooctaves;thefingersmustbeclosetothe

61Brée,26.62Ibid.

25

keysandthewristmustnotbestiff.Seeexample11.

Example11.Exercisesforoctaves

3.1.2.6 Chords

Inpracticingchords,thekeysshouldbepressedratherthanstruckinorderto

carrythesoundwellandavoidharshtones.Oneshouldtrytoarchthehandasfarasthe

intervalpermits,make fingerscurved,andmaintain the firmnessof thewristand the

fingertips.Theapproachisthesameaslegatoplayingdescribedabove.

26

Example12.Exercisesforchords

3.1.2.7 DoubleNotes

The following exercises (Example 13) are for paired notes playingwith and

without held notes. Brée suggested that it should be done with a loose wrist. The

movingnotesdonothavetobeplayedlegato.

Example13.Exercisesforpairednotes

27

3.2 Vengerova

3.2.1VengerovaasaTeacher

IsabelleVengerovawasaleadingpianopedagogueofhertime.Thequalitiesand

characteristics of Vengerova’s method are very similar to the traits that Leschetizky

exhibited in his lessons. She extended the pedagogical principle of her own teacher

Leschetizky, and creatively restructured it with her individual traits.63One of her

students,GaryGraffman,explainedthatherteachingtraditionwasacombinationofthe

nineteenth century romantic tradition which was derived from her own study with

Leschetizky and the twentieth century tradition which demands respect for a

composer’sintention.64

In addition to possessing brilliant piano skills, she was notorious for her

irascible temper. Shouting, stomping, scolding, sarcasms, treats, curses, and furniture

crashing frequently happened in Vengerova’s lessons. 65 Samuel Barber, a former

student,recollectedhisstudieswithVengerova,

…asIgrewolder,Icouldappreciateherloyalfriendship,herwarmwitandirony.Butthefirstlessonswerenoteasy.WithwhataffectionandsadnessIrememberthem:"Sitstill!Thatpianostoolisnotagardenswing."And"Areyoulazyorconceitedorjuststupid?”66

Herformerstudentsagreedthatshehadagreatenthusiasmforteaching.Barbersaid,

…Ioftenthinkthatshetaughtme–throughthepiano–moreaboutsingingthanmy singing teacher, ormore about the construction of a phrase or amovementthanmycompositionteacher…67

63Gerig,313.64 Robert D. Schick, The Vengerova System of Piano Playing (University Park: Pennsylvania StateUniversity Press, 1982), 102. Schick indicated that this is from an obituary for Vengerova by Jay S.HarrisonwhichappearedintheNewYorkHeraldTribuneonSunday,March4,1956insection4,page5.65MonaMender,ExtraordinaryWomeninSupportofMusic(Lanham,MD:ScarecrowPress,1997),154.66Schick,101.67Ibid.

28

Vengerova was a formidable pianist who would frequently play the piano to

demonstratewhatshemeantandcouldshowherideasclearly.68AccordingtoNeuman,

shewaspreparedtoteachanyworkandcouldplaytheentirerepertoirebymemory.69

Shewas capable of great concentrationwhich could last for the length of a seven or

eight hour lesson. Abba Bogin recalled an incident inwhich one of her studentswas

unawareofhowmuchpedalhewasusing,butVengerovastoppedhimandsaid “Is it

possiblethatIamfortyyearsolderthanyouandhavebetterhearing?”70

Vengerova took an individual approach to each student,much as her teacher,

Leschetizky,didwithhisstudents.ThomasScherman,anotherformerstudent,saidthat

“shehadadistinctteachingmethodthatcouldbeappliedtoeachstudentdifferently.”

Atthesametime,shewas“atremendousdisciplinarian,somuchsothatagreatmany

potentialstudentscouldn’ttaketherulessheinsistedon.”71

Sheencouragedher students toenlarge theirknowledge ingeneral aswell as

theirmusicalculture.Onceshesaid,

…when you play a Beethoven sonata, youmust also form an idea of allotherBeethovensonatas.Whileplayingaworkofacertaincomposer,youmustbecomefamiliarwiththehistoricaleraofhistime,hisbiography,hisideasandthemusicianswhoinfluencedhiscreativeimagination.Youmustalsostudyscholarlyandliteraryworksdevotedtothiscomposer.72

In the beginning stage of learning a new piece, Vengerova insisted that one’s

musical interpretation suchas “nuances, articulations,phrasing, andotherparticulars

shouldderivefromadeepemotionalfeelingandunderstandingofthestyle,andshould

68Ibid.,102.69JosephRezits,“Cana2ndGenerationMethodbeSuccessful?TheTeachingofIsabelleVengerova,”ThePianoQuarterly106(Summer1979):19.70Schick,102.71Ibid.72Rezits,19.

29

not be mechanically attached to the notes, following a teacher’s instruction or the

editor’sindicationsinthemusic.”73

In termsofhermethod, sheconsidered toneproduction tobeof fundamental

importance, both in illuminating the music’s significance and in enlightening the

pianist’smusicianship. Shewas really interested in “how to coax the largest range of

beautiful, subtle, dazzling, dramatic, velvety and singing sonorities”74from the piano.

LeonardBernsteinsaidthatthegoalofherteachingwithhimwastomakehimproduce

a singing tone.75Vengerova was known to believe that good hand position was a

primary requisite in terms of one’s ability to project beautiful sound and legato.

Graffmanwrote that “Shewas interested primarily in sound – she had an obsession

withbeautifulsoundandlegato.Toachievethis,shewasquitedogmaticinherteaching

about hand positions, and extremely slow practicing, hands separately, with accents

everysomanynotes.”76Shewasverystrictaboutherideasofhandandwristaction.

Regarding technique, Schick said that Vengerova endorsed the collections of

exercisesbyPischnaandTausig.Sheassignedanewexerciseateachlessonandinsisted

that it bepracticedwithin the frameworkofherownsystem,usinga flexiblewrist.77

AccordingtoBernstein,Vengerovanevermadeanyseparationbetweentechniqueand

musicalexpression.Andhesaid, “Whenshe taughtpiano techniqueshe taught itasa

part of the interpretive quality of music.”78While there are undoubtedly technical

aspectsinVengerova’steaching,itisperhapsmorecorrect,asBernsteinnoted,thatthe

primary intent of hermethodwas to train her students in themost efficientway to

73Ibid.74GaryGraffman,IReallyShouldBePracticing(GardenCity,NY:Doubleday&Company,1981),44.75Mender,154.76Graffman,43.77Schick,30.78Ibid.,101.

30

interpretmusic.

3.2.2VengerovaExercises

Like hermentor Leschetizky, she never claimed to have a particularmethod;

however,sheclearlyhadatechnicalsystemwhichsheimpartedtoherstudents.Robert

D. Schick wrote a book called The Vengerova System of Piano Playing demonstrating

severalexercisesrecommendedbyVengerova.

The facet of piano techniquewhich Vengerova emphasized themostwas the

positionofthehandswhichischaracterizedbythefollowing:

1) theelbowsshouldbekeptaway fromthe torso.2) thewristsshouldbeheld with complete freedom. 3) the fingers should maintain a curvedposition, with strength and precision.79 4) the fingers should be removedfrom the key immediately after striking, and shifted to the next playingposition.80

Inordertohaveaproperhandposition,Vengerovasuggestedthatthehandpositionbe

suchthat“…thebackisdownandthepalmisup,asifholdingaball,andthentoplace

thehandonthekeyboard,maintainingthesameshape.”81

According to Schick, the basis of Vengerova’s technique was proper tone

production, in order to provide the basis for the formation of speed, flexibility, and

power. 82 The following descriptions are the basic rules, formulated in regard to

achievingabeautifultone:

1) Non-percussive touch. The fingers are to be close to the keys exceptwhenplayingahandstaccato.

2) Flexiblewrist.Theflexibilityandpowerofthewristmustbedeveloped.

3) Accents.Thewrist israisedandthefingertippreparedonthekey.The

79Gerig,313.80Rezits,19.81Schick,22.82Ibid.,12.

31

hand isheld firmly from the fingertips through theknuckles to thewrist,though without unnecessary tension. The wrist is pushed sharplydownwardwith its energy going into the fingertip and then into the keyandthenrelaximmediatelyafterward.

4) Quiet upper arm. At no time is the upper arm used directly in theproductionofanaccent.Whenplayinganaccentthepowercomesfromthepressure from the finger andwrist. The elbow stays in a relatively fixedposition,andtheupperarmremainsquiet.

5) Relaxation.Allmusclesmustbe relaxedwhileplayingexcept for thosedirectlyinvolvedintoneproduction.

6) Weight.Thefingersdirectagreateramountofweightintoakeyforloudsounds,andlessweightforsoftersounds.

7) Application to music. The hand must follow the fingers in whateverpattern they play. When combined with a “close to the keys,” non-percussivetouch,theseprincipleshelptoproduceagoodlegato.83

3.2.2.1 BasicExercises

Vengerova’sexercisesapproachdifferenttechnicalissuesinpianoplaying,such

as scales, arpeggios, double notes, staccato. The exercises are based on a series of

systematicaccents.The first step inVengerova’s technique is learninghowtoplayan

accentoneverynoteofaone-octavescale.Asageneralrule,thewristshouldberaised

as high as possible with curved fingers. The fingertip must be prepared on the key

beforehand. Onemust feel theweight going into the fingertip and presswith a good

tone,notapercussiveone.Afterfirmlypressingthekey,thewristdropsdownsharply

andquickly.Thenitwillbelowerthanthepositionwhenitbegan.Theelbowshouldbe

kept almostmotionless to prevent the energy from being lost and to direct it to the

fingertip and the keyboard. The upper arm is not directly involvedwhen playing an

accent,evenwhenplayingloudchords.

83Ibid.

32

Example14.Accentoneverynote

Once the scalehasbeenplayed foroneoctavewithanaccentoneachnote, it canbe

repeated with accents every two, three, four, and eight notes. By practicing these

exercises and eliminating all unnecessary arm movements, students will master the

transferofweightfromfingertiptofingertip,producingaconsistenttonequality.

Example15.Accentoneverytwo,three,four,andeightnotes

Vengerovainsistedonslowpracticeinordertobuildagoodfoundationforfastplaying

lateron.Schicksuggestedworkontheseexercisesinoctavesaswell,handsseparately

andtogether.

33

3.2.2.2 Scales

Vengerova’s students practiced scales in the major, harmonic minor, and

melodic minor with standard fingerings, also practicing hands separately at the

intervals of the octave, third, sixth, and tenth. Schick suggested additional exercises

mainlytohelpwiththumbcrossings.SeeExample16.Theseexercisescanbepracticed

inallkeys.Vengerovademandedthatthearmmovefreelyfollowingthepatternofthe

scalewhenplayingscaleswithorwithoutaccents.

Example16.Exercisesforpassingthethumbunder,orwiththeotherfingersoverthethumb

34

3.2.2.3 Arpeggios

Vengerova’sstudentspracticedarpeggiosinmajorandminortriads,dominant

seventh, and diminished seventh patterns. As a rule, when playing asccending

arpeggios,therighthandthumbshouldplayassoonaspossible,andaslateaspossible

forthelefthandthumb.Theforearmandwristshouldbekeptatthesameangletothe

keyboardthroughoutalongarpeggioinordertopreventlossofspeed.

Example17.Exercisesforarpeggios

The following example illustrates arpeggio exerciseswithout accents. Since the notes

playedbythethumbcanbeaccentedreadily,thethumbshouldbepreparedonthekey

beforehand.

Example18.Exercisesforarpeggioswithoutaccents

35

3.2.2.4 Articulations

Schick defined Vengerova’s staccato technique as a combination of dropping

downandraisingupwristmotions.Thishelps toavoidstiffness, aswellasmaking it

easier to phrase and add shadings to the music.84Vengerova differentiated between

staccatos using a non-percussive touch andusing a percussive one. A non-percussive

touch is playedwith fingers that are in contactwith the key before playing then; 1)

depress the key and lift fingers quickly, 2) pluck the key “as if snapping a rubber

band.”85A percussive touch is playedwith a relatively fixed and firm finger. The key

shouldbestruckfromaboveandthehandmoved“asaunitfromthewrist.”86Schick’s

viewonthistouchwasthatitisusefulforfaststaccatopassageswithmanynotesand

thatitaidsinachievingevensoundsmoreeasilythroughthetransmissionofthesame

amountofweightfromthehandintothefingertip.87

IndiscussingVengerova’sapproach to legatoplaying, Schickdidnotofferany

exercisesofhisown.However,hediscussed“thewayofplayingsinglelinemelodywith

a lyricnocturne-likesound.”Schickwrote that themost importantprinciple is thatof

transferringweightfromthearmtothefingertip.Theweightmustflowsfromonetone

tothenextinordertofacilitatetheevennessofpassagework.88

3.2.2.5 Octaves

AccordingtoSchick,eventhoughVengerovamademanyhelpfulcommentson

how to play staccato octaves she did not systematize any teachingmethod regarding

84Ibid.,65.85Ibid.86Ibid.,66.87Ibid.88Ibid.,46.

36

octaves. 89 Instead Vengerova recommended Döring exercises (Example 19) for

improvingtheflexibilityofthewrist.90

Example19.Döring,ExercisesandStudieson thePiano forte for thePreparationand

DevelopmentofStaccatoOctavePlaying(G.Shirmer,1902),p.4,mm.1-8

3.2.2.6 Trills

According to Schick, Vengerova’s studentswere assignedmany trill exercises,

especiallythosewhichrequiredpressingoneormorefingersdownwhiletherestofthe

fingerstrilled.Theseexercisesarealsousefulforstrengtheningfingersnotonlyfortrills

butalsoformanyotherpassages.

Example20.Exercisesfortrills

3.2.2.7 DoubleNotes

Exercisesfordoublethirdscalesweretobepracticedinmajorandminor,hands

separatelyandthentogetherafterwards.Thesupplementaryexercisesfordoublenotes

89Ibid.,68.90Ibid.,69.

37

suggestedbyVengerovawereacollectionoftechnicalexercisesbyMoritzMoskowski.

Shewasfondofthecollectionwhichincludesusefuldoublenotesexercisesnotonlyfor

thirdsbutvariousotherintervals.91

Example21.Exercisesforthirds

Example 22. Moszkowski, School of Scales and Double Notes for the Piano, Book III

ExerciseA.1,mm.1-3

3.3 Neuhaus

3.3.1NeuhausasaTeacher

NeuhauswasoneofthemostprominentfiguresinRussianpianopedagogyand

histeachingphilosophywascreativeanduniqueinRussiaforhistime.Whilemanyof

hiscolleagueswereusingolder,moretraditionalmethodshesynthesizedbestmusical

pedagogiesofthedifferentnationalschoolssuchasRussian,Polish,Austrian,German,

French,andItalian.92

Neuhauswasbornintoaprominentmusicalfamily.Bothhismotherandfather

91Ibid.,59.92Galina I. Crothers, “Heinrich Neuhaus Life, Philosophy and Pedagogy.” (Ph.D diss., Birmingham CityUniversity,2010),222.

38

werepianists.HismotherwasasisterofFelixBlumenfeld,who taughtHorowitz,and

hisgrandmotherwasrelatedtoKarolSzymanowski.YoungNeuhauslearnedandgained

experience from his family and from traveling to western Europe. He absorbed

influences from the Austro-Germanic tradition of pianism through his teachers Karl

Barth and LeopoldGodowsky, andwas exposed to other pedagogical principles from

Blumenfeld.Thesewerethesourceswhich inspiredhimasapianistand lateronasa

teacher.93

Neuhauswroteabook,TheArtofPianoPlaying,94whichfocusesonbothbroad

andspecifictechnicalandmusicalaspectsofpianoplayingandperformance,aswellas

ontheteacherandpupil interaction.The ‘TeacherandPupil’,amongstotherchapters,

regardsteachingmusicasanartratherthansimplythetransmissionofpianisticskills.

Hewrotethatateacherisresponsibleforgivingstudentsthemusic’spoetic image,as

wellasadetailedanalysisoftheformandthestructure,harmony,melody,polyphony,

andpianistictextureofapiece.95

Neuhaus asserted that a teacher should bemainly concerned about raising a

student; first as a person, second as an artist, third as a musician, and after that a

pianist.96Hewrotethattherealtaskofteachersistonurturestudentsnotonlytoteach

them to play piano well but also to make them more intelligent, sensitive, honest,

equitable, and steadfast.97Andhe added, “worthless is the teacherwho sees only the

piano playing, piano technique, and has but a vague idea of music, its sense and its

93Ibid.,54.94Neuhaus,173.95Ibid.,173.96Tatiana Kritskaya, “Your playing is amirror of your soul” to 18th Anniversary of Stanislav Neuhaus,NezavisimayaGazeta (Moskva,March 16, 2007). Translation byNataliya Sukhina, “Alexander Scriabin:Pianominiatureaschronicleofhiscreativeevolution.”(DMAdiss.,UniversityofNorthTexas,2008),75.97Neuhaus,23.

39

structure.”98

Neuhaus stressed the foremost importance of “the artistic image of amusical

composition”andthatitshouldbeginattheveryfirststageoflearning.99Whenworking

ontheartisticimage,oneshoulddevelopone’sear,abroadknowledgeofmusicandof

the composer. And a teacher shouldmake a studentmemorizemusic by reading the

scorewithoutplayingthepianoinordertodevelopone’simaginationandear.Headded

“developstudent’s imaginationby theuseofaptmetaphor,poetic similes,byanalogy

withnaturalphenomenaoreventsinlife.”100

Regardingtechnique,Neuhausdidnotadvocatetheuseoftechnicalexercisesor

studybecausehebelievedthatartisticpianotechniquecannotbedevelopedoutsidethe

context ofmusic.He suggested acquiring technique through theuseof a realmusical

compositionandhighlightedtheadvantagesofthat,

First, his emotional state will be quite different; it will be heightenedcomparedtowhenheispracticing“useful”exercisesordry-as-duststudies.Secondly, itwillbemucheasier to showhim–sincehisown intuitionwilltend thatway– the tonequality, the tempo,nuances,acceleration,etc.andconsequently the ways of playing that are required for performing thecomposition so as to make it clear, meaningful and expressive, i. e. in amanneradequatetoitscontent.101

Neuhauspointedoutthat“thebestpositionofthehandonthekeyboardisone

which can be alteredwith themaximumof ease and speed.”Hewrote that themain

technical fault is caused by stiffness, a complete absence of freedom. He suggested

relaxationexercisesandrepeatitmanytimeswitheachfinger,

withthewristraisedandthehandhanginglooselydownplayanoteonthekeyboardfromabove,graduallyloweringthewristasfardownaspossible,in

98Ibid.,25.99Neuhaus,10.100Ibid.,21.101Ibid.,11.

40

aquick,measuredmovement,thenraiseitagainabovethekeyboarduntilthefingercannaturallynolongerholddownthekeyandiscarriedawayquicklyandsmoothly,togetherwiththehandandwrist.

3.3.2NeuhausExercises

SinceNeuhausrefrainedfromusingtechnicalexercisesorgymnastics, itmight

be counterintuitive to present one in this essay. In his book, however, Neuhaus

displayed useful examples of short exercises for an additional explanation of his

thoughtsoncertaintechniques.

3.3.2.1 ToneProduction

Neuhauswrotethatwhenspeakingoftechniqueitisimpossiblenottomention

tone,ashesaid“workontoneisworkontechniqueandworkontechniqueisworkon

tone.”102He said that the mastery of tone is the most significant aspect of all the

componentpartsofpiano technique thepianistmustdealwith, and it is thepianist’s

dutytoworkontoneproduction.Hismainconcernispossessingadeep,full,andrich

tonewhich facilitates the production of any nuance vertically and horizontally.103He

suggested that a note be played with the softest possible tone and then gradually

increasethedynamiclevel.Example23isanexerciseherecommendedtohisstudents

todeveloptheirearandforgettingtoknowthekeyboard.

Example23.Exercisefortoneproduction

102Ibid.,79.103Ibid.,67.

41

Neuhausstatesthatgoodtonecanbeachievedbycompletefreedomandrelaxationof

theweightfromtheback,shoulder,arm,andwristtothefingertipstouchingthekeys.

For acquiring varietyof tone,Neuhaus suggested the following exercises. Seehowhe

usesdynamicmarkingsinExample24.ThefirstexerciseinExample24canbemodified

to four-part and five-part chords. These should be exercised in different tonalities,

slowly,thenwithanincreaseintempo,alternatelyplayingonepartlegatoandtheother

staccato.

Example24.Exerciseforvarietyoftone

3.3.2.2 Legato

Intermsoflegatoplaying,NeuhausagreedwithBusoni’sopinionthat“legatoon

thepianowasonly imaginarydue to the impermanentqualityof thepiano’s tone,”104

andstressedthatthebasisofthelegatoisflexibility.Unlikeotherinstrumentssincethe

pianodoesnothavealastingtone,itneedsmuchricherandmoreflexibleshadingofthe

melodic parts as well as other parts in order to render clearly the intonation of the

music.105

104Ibid.,101.105Ibid.,71.

42

3.3.2.3 ScalesandArpeggios

Neuhaus presents the following exercises for scales (Example 25, 26) and

arpeggios (Example 26). In a way similar to Leschetizky and Vengerova, Neuhaus

pointedoutthatthedifficultyofplayingscalesliesmainlyinthethumbmovement.The

main focus of these exercises is ‘turning the thumb under the hand,’ and he

recommendedchanging theconception to ‘bringinghandover the thumb.’106Neuhaus

suggestedthatintheprocessofplayingthisexercise,thethumbshouldbeplacedonthe

keywhichmust strike next (indicatedwith grace notes in Example 26). And he also

wrotethatwhenplayingscalesandarpeggiosthepianistshouldkeepinmindtheideals

offlexibility,foresight,andevennessofmovement.

Example25.ExercisesforscalesA Example26.ExercisesforscalesB

Example27.Exercisesforarpeggios

106Ibid.,103.

43

3.3.2.4 DoubleNotes

The following exercises are suggested by Neuhaus for double notes covering

intervals from the second to the octave and up to ninths and tenths. He considered

double notes as two parts which must be played differently from each other. When

playingoctaves,Neuhausinsistedthatthepalmandfingersform“aroundedhollow.”107

Andthehighestpointofadomeisnotthewristbutthehand.

Example28.Exercisesfordoublenotes

107Ibid.,125.

44

CHAPTER4

REPERTOIRE

This chapter will present categorized piano techniques from the exercises

discussed in the previous chapter and compare these exercises with passages from

appropriategreatliteraturesuitableforlateintermediate-levelstudents.Therepertoire

covers the wide array of compositions ranging from the Baroque era to the late

Romanticperiod.

4.1 ToneProduction

Leschetizky’s finger exercises and Vengerova’s accent exercises are mainly

aimedatgoodhandpositionandfingerstrength,asthosearethebasisofpropertone

production.Likesomanyofhiscolleagues,Neuhausalsoemphasizedtheimportanceof

developingafinetone.

J.S.Bach’sshortcompositionssuchasPreludes,Fugues,andtwoorthreeparts

Inventions are suitable for helping a student develop variety of tone. These are good

preparationpieces for fugalplayingandvoicing indifferentpartsandarechallenging

for intermediate students. A piece such as Sinfonia No. 11 is written in a way that

introduces the concept of playing different tone colors by making noticeable

distinctions between the voices. This piece contains three part voices flowing

independently. The longer held notes need a rich singing tonewhile playing shorter

sixteenthnoteswithinonehandwhichrequiresskilledvoicing.Fingersubstitutionand

quick finger changesare required.Thisexpressivemusic requires theability to listen

carefully,aswellasfingerindependenceinordertoshapethephraseswell.

45

Example29.J.S.Bach,SinfoniaNo.11inGMajor,BWV797,mm.1-12

BeethovenBagatellesOp.119aregoodpiecesforlearningtheconceptofclear

articulationwhichrequires firm fingertipssupportedbya firmwristandarmweight.

Alternatingstaccatoandslurintherighthandisachievedbythewristandbymaking

gentle accents. Pianists can easily conceptualize different tone colors by making

noticeabledistinctionsbetweenmelodyandaccompaniment.Pianistsneedtobecareful

nottoraiseandlowertheirwriststoomuchonthestaccatoandthefirstslurrednotes

whilethefingertipsremainfirm.

Example30.L.v.Beethoven,BagatellesinB-flatOp.119,No.1,mm.1-15

46

No.6ofGrieg’s LyricPiecesOp.54 is a goodexampleof creating a varietyof

tonecolors inwidedynamicranges.Pianistsneed toplay fromthesoftestpianissimo

and gradually increase the dynamic level to fortissimo. This piece can aid in the

developmentoflisteningskillsthroughthegradualchangeintheintensityofthesound.

Itshouldbeplayedwithgoodtonewhichisachievedbycompleterelaxationofthearms

andeffectiveuseofarmweight.

Example31.E.Grieg,LyricPiecesOp.54,No.6Bellringing,mm.30-64

47

4.2 Scales/Arpeggios

All three pedagogues pointed out that the difficulty of playing scales and

arpeggios liesmainly inthefreedomofthethumbmovementwhenmovingunderthe

otherfingers.

Rameau’s LaTriomphante from Nouvelles Suites de Pièces de Clavecin helps

pianists to develop the faster moving thumb movement that is integral for playing

scales.Thismusicpresentsfastscalesalternatingbetweenbothhands;itissuitablefor

late intermediate students and should be used to introduce the concept of avoiding

stiffnessandundesiredhandfatigue.Thispieceallowsthepianisttodevelopasenseof

transferringweightfromonefingertiptoanotherwithagoodlegato.

Example32.J.RameauNouvellessuitesdepiècesdeclavecin,LaTriomphante,mm.1-12

ApiecesuchasKuhlau’sSonatinaOp.55No.2,1stmovementoffersaverygood

exerciseforfastthumbmovements.Therighthandthumbplaysalternatelyinanormal

andapassingposition.Inscaleplaying,thearmshouldberelaxedandfingermovement

is aided bywrist rotation, especially at the turning point of the scale (indicatedwith

boxesinExample33).

48

Example33.F.KuhlauSonatinainGMajor,Op.55No.2,1stmovement,mm.1-11

Chopin’sPreludeOp.28No.23,whichcontainsrepeatedsixteentharpeggiosin

amoderatetempoissuitableforlateintermediate-levelstudents.Thefastmovingnotes

requireanevenlegatosound.Thispiececouldbeveryeffectiveforimprovingtheuseof

fingersindifferentpositions,supportedbyflexiblewristmovements.Inmeasures1-2,

thepianistshouldmakesurethatthescaleactsastheaccompanimentwhichneedsto

beplayedlightandsmoothly.

Example34.F.ChopinPreludeinFMajor,Op.28No.23,mm.1-3

49

4.3 Legato/Staccato

Inlegatoplaying,itisimportantthattheweightflowsfromonetonetothenext

inordertofacilitatetheevennessofthenotes.

ApiecesuchasDomenicoScarlatti’sSonataK.9(L.413)canbeagoodstudyfor

legatoandcantabileplaying.Therighthandeighthnotesandsixteenthnotespassage

require differentiation of melody and accompaniment and work on shaping melody

lines.

Example35.D.ScarlattiSonatainDMinor,K.9,L.413,mm.1-9

Mozart’sVienneseSonatinaNo.6isveryeffectivetostudyforseveraldifferent

conceptsoflegato,staccato,anddoublenotesplaying.Thefirstmovement(Example36)

demandsfinecontrolofseveraldifferentarticulations.Theslurrednotesintheleftand

right handsmove separatelywhich requires careful control of both hands aswell as

technicalclarity.Thesecondmovement(Example37)requiressinginglegatoplayingin

therighthand.

50

Example36.W.A.MozartVienneseSonatinaNo.6inCMajor,1stmovement,mm.1-11

Example37.W.A.MozartVienneseSonatinaNo.6inCMajor,2ndmovement,mm.1-6

Chopin’sNocturnes, Preludes, andWaltzes are excellent for developing legato

playing. A piece such as Nocturne Op. Posth in c minor is good for learning singing

legatoplaying.Thelefthandeighthnotespassagesneedaflexiblewrist.Thispiecealso

requirestheperformertousesomerubatowhenplayingtwelvenotesagainstfour.

Example38.F.ChopinNocturneinCMinor,Op.Posth,mm.4-6

51

4.4 Octaves/DoubleNotes/Chords

ThefirstmovementofMozartVienneseSonataNo.4canaidinthedevelopment

of fine legato playing especially in the double third passages. All three movements

includedoublethirdpassageswithavarietyofnotevalues.

Example39.W.A.MozartVienneseSonataNo.4inB-flatMajor,1stmovement,mm.1-5

Beethoven’s Ecossaise WoO. 83 is a simple and delightful work. Primary

technicalconsiderationsinvolvethelefthandoctaveleapsandthevoicingoftheright

hand.The thirdmovement is themost challengingwith adouble thirdmelody in the

righthand.

Example40.L.v.BeethovenEcossaise,WoO.83,3rdmovement,mm.1-17

ApiecesuchasMendelssohn’sSongwithoutwordsOp.19No.3providesavery

goodstudy inchordsandoctaveplaying.Thisenergeticpiecerequires firm fingertips

52

andquickhandmovementsforfastmovingrepeatedchords.

Example41.MendelssohnSongWithoutWords,Op.19,No.3“HuntingSong”,mm.23-29

Schumann’s Scenes from Childhood Op. 15 No. 6 is appropriate for studying

octave playing. The performer needs strong fingers for the tempestuous chords, and

octavepassages.

Example42.SchumannScenesfromChildhood,Op.15,No.6“ImportantEvent”,mm.9-16

53

CHAPTER5

CONCLUSION

Many pianists and pedagogues have contributed to the various aspects of

teachingpianotechnique.However,itistruethatthereisnoonemethodthatcouldbe

appliedtoallstudents.Regardlessoftheapproach,theaimoftechniqueistofacilitatea

performer’sinterpretationofthemusic.

This paper offers options that can help a teacher to decidewhether to teach

pianotechniqueseparatelyoraspartof therepertoire.Successful teachingrequiresa

working knowledge of how repertoire and techniquework together. There is a lot of

repertoire which can aid in the development of technical and musical skills for late

intermediate-level students. By studying technical exercises from the repertoire,

studentslearnhowtoaddresstechnicaldifficultiesstepbystepandgraduallybuildan

effective piano technique while learning effective means of practicing. Also, late

intermediate piano students can build both technique and repertoire simultaneously.

Whiletherearedifferingopinionsonteachingtechnique, it isnottheintentionofthis

essay to argue that technical exercises are worthless or should be neglected. The

primary intent of this paper is to assert that technique should never be taught

separately from music. Even a simple scale exercise should be played in the best

possiblemusicalmanner.

54

55

APPENDIX

REPERTOIRE FOR THE LATE INTERMEDIATE-LEVEL PIANISTS

Somerepertoiresuggestionsforlateintermediate-levelstudents,incorporating

thetechnicalissuesdiscussedinthisstudy.

A-ArpeggioD-DoublenotesL-LegatoO-OctaveR-RepeatednotesSC-ScaleST-Staccato

Composer Composition

Albeniz EspañaOp.165,No.1“Prelude”EspañaOp.165,No.2“Tango”SuiteEspañolaOp.47,No.2“Cataluna”SuiteEspañolaOp.47,No.5“Asturias”SuiteEspañolaOp.47,No.8“Cuba”

A,D,LD,LC,D,L,OC,L,O,R,STA,C,D,L,O

Arensky 24CharacterPiecesOp.36,No.1“Prelude”3PiecesOp.42,No.2“Romance”12PreludeOp.63,No.412PreludeOp.63,No.9

A,C,L,OD,LD,C,LA,L

Bach PreludeBWV.928PreludeBWV.925PreludeBWV.936FugueBWV.953PreludeandFugueBWV.900InventionNo.12,BWV.783SinfoniaNo.10,BWV.796SinfoniaNo.11,BWV.797SinfoniaNo.15,BWV.801

D,SCD,SCD,SCD,SCD,SCA,SCD,SCD,LA,D,L

56

Beethoven BagatellesOp.33,No.1RondoOp.51,No.1BagatellesOp.119,No.113BonnSonatasWoO.47MinuetandTrioWoO.826EcossaisesWoO.83

D,L,SC,STD,L,SC,STC,DA,C,D,L,SC,STC,D,L,OD,L,O

Brahms 16WaltzesOp.39BalladeOp.10,No.1CapriccioOp.116,No.3

C,D,L,O,STC,L,O,STA,C,L,O

Chopin PreludeOp.28,No.6PreludeOp.28,No.9PreludeOp.28,No.15PreludeOp.28,No.20MazurkaOp.7,No.2MazurkaOp.7,No.5MazurkaOp.68,No.2MazurkaOp.68,No.3WaltzOp.64,No.1WaltzOp.69,No.2NocturneOp.32,No.1NocturneOp.55,No.13EcossaisesOp.Posthumous72,No.3

A,D,LC,D,LD,L,O,RC,L,OD,LC,SD,LD,LC,L,SC,STA,D,L,SCA,D,LA,C,LA,C,D,SC,ST

Dohnanyi WinterreigenOp.13,No.10“Postludium” A,C,L

J.Field NocturneNo.5 A,D,L

Granados Stories of the Young Op. 1, No. 3 “MaySong”12SpanishDancesNo.1

A,D,L,O

C,D,S

Grieg PoeticTonePicturesOp.3No.1LyricPiecesOp.12,No.1“Arietta”LyricPiecesOp.54,No.4“Notturno”LyricPiecesOp.54,No.6“BellRinging”

L,SC,STA,LC,D,LC,D

Handel Passacaglia,G.255,fromSuiteVII A,C,D,L,O,SC,ST

57

Haydn SonataHob.XVI/6SonataHob.XVI/23SonataHob.XVI/37SonataHob.XVI/39SonataHob.XVI/40SonataHob.XVI/43

A,C,D,L,O,SC,STA,L,SC,STA,L,SC,STD,SC,STD,SC,STC,D,L,R,SC,ST

Kabalevsky PreludeOp.38,No.2 C,ST

Kuhlau 3SonatinasOp.60 A,C,D,L,SC,ST

Liszt ConsolationsS.172,No.1TheChristmasTreeS.1865HungarianFolksongsS.245FarewellS.251

D,L,OA,C,D,L,O,SC,STC,D,L,O,STC,D,L

Macdowell ForgottenFairytalesOp.46FanciesOp.74LittlePoemsOp.32Marionettes,Op.38

D,L,O,SC,STC,D,L,SC,STC,D,L,O,STC,D,L,O,ST

Mendelssohn SongWithoutWordsOp.19No.1SongWithoutWordsOp.19,No.2SongWithoutWordsOp.19,No.3SongWithoutWordsOp.30,No.3SongWithoutWordsOp.38,No.4SongWithoutWordsOp.85,No.1SongWithoutWordsOp.102,No.2SongWithoutWordsOp.102,No.6

A,LA,D,LC,O,STC,LA,C,LA,LC,D,LC,D,L

Moszkowski 10Piecesmignonnes,Op.77,No.6“Tarentelle”Op.77,No.2“Scherzino”

R,STL,ST

Mozart 5VienneseSonatinasK.439bSonataK.282SonataK.283SonataK.545

D,L,SC,STD,L,SCD,L,O,SC,STD,L,SC,ST

Rachmaninov PreludeOp.32No.126RomancesOp.38,No.3“Daisies”

A,C,LA,L,SC

58

Rameau Nouvellessuitesdepiècesdeclavecin,“L'Indifférente”“LaTriomphante”“LesTricotets”“LaPoule”

L,SCA,SCA,R,STA,C,D,R,ST

Scarlatti SonataK.1,L.336SonataK.2,L.388SonataK.9,L.413SonataK.11,L.352SonataK.74,L.94SonataK.149,L.93SonataK.208,L.238SonataK.431,L.83SonataK.446,L.433SonataK.511,L.314

A,L,SC,STA,LD,L,SCD,L,SCL,SC,STR,SC,STL,SCAD,LA

Schubert SonataD.4593PianoPiecesD.459ARondoOp.post.145/II,D.50613VariationsD.5762ScherziD.593AdagioD.612MarschD.606

C,L,OA,D,L,OA,L,O,SA,C,D,L,O,R,STC,D,L,SD,L,SC,O

Schumann ScenesfromChildhood,Op.15,No.6AlbumfortheYoungOp.68,No.23,29,31AlbumfortheYoungOp.68,No.35ColoredLeaves,Op.99SonatafortheYoungOp.118AlbumLeavesOp.124

C,O,STD,C,O,STA,L

A,C,D,L,SC,STA,C,D,L,O,SC,ST

Tchaikovsky AlbumfortheYoungOp.39,No.3“ThelittleHorseman”No.18“NeapolitanDanceSong”No.21“SweetDreams”

C,D,STC,STD,L

Telemann FantasiaNo.5 A,C,D

59

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