Piano Method after Chopin & Neuhaus. Dear Visitor! Let you not be surprised finding some unusual beliefs in my texts! My approach to the piano, simply, is the continuation of truly uncommon Harry Neuhaus' idea, according to which "any improvement of the [piano] technique must mean – an improvement of the artistic idea"! Yes, I not only strongly believe that improvement of technique of playing the piano should be started from upgrading of understanding of what exactly one might LIKE to express via the instrument, but as well I just really know, how practically such miracle should be generated... – indeed! Due to very nature of THE REAL and THE VIRTUAL aspects of playing the piano, mental and emotional factors must work actually together. Unfortunately, these factors are very often understood separately, and that is why so many students of the piano actually overload their fingers and hands: they seemingly try to achieve the well-balanced "state of affairs", still being totally NOT informed what the real piano technique is all about! They are looking for the piano paradise trying to improve MATERIAL side of the entire matter only... Therefore such notions as "creative hearing", "virtually vivid vision of the sound", "the proper Zone of sound's quality" – should greatly support our searches for genuine artistic integrity in playing and teaching the piano, enlightening the commonly dark and Very Less Known side of the thing. We should find out the possibly well-integrated model of the situation and try to shape the Real Method in full accordance with the "renewed" values and measures. Dear Visitor! Be patient, please! I am not the English-native speaker and that is why I am unable to write as clearly as I truly want! Despite all the difficulties yet, I am sure, you will very easily be able to recognize the cantus firmus I attempt to illuminate in my texts. As happens in many other specialties, certain ideas could been nearly forgotten within particular periods; such happened to the Chopin's Method, too. And however Prof. Harry Neuhaus' worldwide known piano pedagogic system was fully based on the Chopinian formula, paradoxically, the basic stuff of both of them [Chopin's & Neuhaus' Methods] had never been fully recognized and absorbed by piano teachers worldwide up to our time. Here you are the new presentation of that conjoined piano pedagogical formula! I am nearly sure that pianists, who represent not only classical specialties, might found many generous impulses hereby, too. Welcome on board! Yours truly – Stefan Kutrzeba
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Actualized: 2007-02-15