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 1. The Guide
who walks the Way - never deals
with violence. (TAO)
2. The Present-day
technology strives to equip machines
with the human's like abilities. It is OK, maybe. Still tries to explain
the human being's activity in purely mechanic
terms, should at least wake up our critical attention! (S.K.)
Here the very harmony sings
Search
for the Master - and he will appear:
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Musical
Form as an Opus of Art cannot be completed by the artistically neutral sounds;
therefore, the each one sound must be connected to artistically appropriate
mental and emotional contents, or – displaying the question in different words, it
should be supported by the artistically meaningful background as idea,
feeling, emotion, etc.
A
sum of senseless elements, like – plain sounds, could not generate any
artistically worthy result. The Form, if shaped by the expressionless
elements, would actually be perceived as the manifestation of NOTHING (a
sum of many zeroes).
"Technique cannot be created in a vacuum; factually – you cannot create a
form having no artistic
idea..." (H.
Neuhaus)
"One cannot create a TALENT, still one can create the Method, which helps talent prospers and flourishes." (H. Neuhaus)
Piano
technique... – should be build remembering
principles of using a bow à la Rostropovitsch, or Oistrakh! How to implement
such task physically – is the secret of a firm. I would like to
reveal it to you all of course, on the one condition yet: you have to
reveal it to everybody who might need in such help, too.
A
piano could be seen as the most
unmusical musical instrument: it
sincerely invites the pianists' hands to act using only one, 'up & down' kind
of motion, which consequently must infect theirs mental habits and finally, to be the cause of the famous 'typewriter' effect.
"What frequently
and mistakenly is called as the 'fingers'
strength' – factually is the ability of fingers and hands to support any kind of load."
(H. Neuhaus after F. Chopin)
Commonly seen, of course, the teacher teaches and the
student is been taught. Still if in a question there is virtuosity in its
highest potency (casus Joseph
Hofmann or Leopold Godowski for example), such questions that have usually be seen
as the leading problems in teaching, really do not longer exist!
The most important things that a piano giant in spe might need in, are the
humanly passionate
and truly new artistic horizon and the intellectual perspective, which together must form the
very special kind of highly advanced fuel for his/her future artistic growth.
The
artistic shortage factually causes immobility of the fingers. Fortunately, they who obtained such an unpleasant
gift, they could get truly beneficial help not only using The Five Great Bonuses, but also – firstly – trying to switch on theirs
imagination.
Unfortunately, even very creative
FANTASY is unable to do anything if the whole work becomes disconnected
with anticipative, ergo – CREATIVE hearing.
Let us
refer to a source again:
"Technique cannot be created in a
vacuum; factually - you cannot create a form having no artistic idea..."
(H. Neuhaus)
Expressing
the same idea in different words one may say that because any technique
means, "ability to REALIZE something practically",
having NO real OBJECT that could be present inside of actually
EXISTENT sounding effect, the pianist, polishing manual elements of his art
even many hours daily, remembers them who would try to start the engine
having no one drop of fuel in the tank...
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