The 2 Mottoes...



And some Thoughts Fugitives...




  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:


















 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 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...