Pianist to Pianist

A collection of pianistic, pedagogical, methodical, musical, artistic, and cultural contemplations, concepts, observations, and concerns, from pianist to pianist, pedagogue to pedagogue, musician to musician and from a curious and critical observer.

To risk to fail is a true artist's obligation and privilege. In earlier times the pursuit of mastery and perfection was a difficult and treacherous path, full of traps, detours, and dead ends, accompanied by imperfection, agony, and ecstasy. Now, it seems, success alone is...

Weight: Force which a body exerts upon any support which keeps it from falling to the earth. The greater this force, the greater the weight. 
Inertia: Property possessed by a body by means of which a force is necessary to change the motion of the body.

Music is rhythmical; weight and inertia have to move appropriate to rhythm, continuously. Hence the inevitability of a wave like, curvilinear, continuous motion of the arm; a little like a jump rope, or a whip, or a yo-yo, but with much, much smaller movements. Arm weight plus inertia uses the hand as one from tip of the finger to wrist; it can produce immense volume, paint in oil. Arm weight minus inertia can, when relaxed, balance the arm so that the fingers can move independently in a state of lightness, it can produce sublime finesse, paint in aquarell.

The balance and use of both - independent finger technique and rhythmical inertia of arm weight (or left hand and bow hand, as the fiddlers say) - is necessary as a foundation for virtuoso piano technique. In addition there is the quintessential rule:

The pianist's hands have to be cultivated to become Watch makers with precision instruments AND metal smiths with hammers Surgeons with laser scalpels AND stone masons with mauls Poets with quills AND Knights with lances And then learn all the professions in-between....