I have come to the conclusion that The Art of Piano Playing by Heinrich Neuhaus is essential reading for pianists. At the time of writing, most of the world is in lockdown so what better time to further our piano studies.
It was first published in the UK in 1973 and has been reprinted many times since then (including via a second publisher). I don’t have a ‘formal’ musical education (I studied Business and French at University), but I can only imagine that this is on the reading list of all major Music Colleges. You’ll find it on Amazon!
One of the most famous piano teachers ever
Neuhaus was born in 1888 and taught hundreds of pupils from the ‘musically deficient to the genius’ (I quote). Of the genius category, Gilels and Richter are two notable names. Neuhaus states that he wrote this book ‘for the average piano teacher and their pupils’. So despite his pedigree, not for the virtuoso or the genius. Given that most of us will fall into the ‘average piano teacher and their pupils’ category, if we take him at his word it should be for us!
Now, I have to admit that this is hardly a ‘page turner’. By his own admission, Neuhaus is not a ‘writer’ but a musician (first) and teacher (second). However, it does provide an absolutely fascinating insight into the world of musical pedagogy as seen by someone who would ‘chat with Horowitz’.
Neuhaus expects that a great musician will produce music of a spiritual nature that touches the soul. Yet he is keen to repeat that this comes from a ‘mechanical box’ that obeys certain physical laws. His chapter on Tone Production for example speaks as much about the physical factors that influence it (height, velocity, force) as the variety of tonal colour that is possible and (to him) expected of a great musician.
Musician before anything!
You might have noticed that I have so far used the term ‘musician’ rather than ‘pianist’ here. Neuhaus, whilst of course being a pianist and a teacher of pianists, stresses that a great pianist must first be a great musician. For example, he states that ‘technique for its own sake’ (so, faster, louder) does not make ‘music’. He even speaks of a technically excellent pianist he taught who at best produced uninspiring music at the piano. The expression he used was that this person sounded like ‘an accompanist without the soloist’. We amateurs are often fixated by this notion of ‘perfect technique’ (probably because we don’t have it). Yet perhaps should be focussing our attention on the music and the technique (according to Neuhaus) will follow.
There are far more insights in this book than I could possibly list out. However, the book’s structure is interesting.
What’s inside the cover?
It starts (following the preface) with a discussion as to the ‘Artistic image of a musical composition’. Interestingly, this is not limited to the ethereal musings one so often hears. He discusses it with respect to many aspects. For example, understanding the theory, form and history are just as vital as anything for forming an Artistic Image.
The sections subsequently look at Rhythm, then Tone, then Technique – including specific considerations as to Fingering (have you read Rami Bar-Niv’s book on fingering) and Pedal. Naturally, there is massive overlap between each of these topics. How can you talk about Technique without talking about Tone? How can you talk about Tone without exploring the Pedal? Interestingly, as an aside, he states that people insisting that Bach should be played without pedal are simply ‘emasculating’ our beautiful instrument! He asserts that in all but the most exceptional cases, the piano is intended to be played with pedal if you want to seriously explore its tone. Some will agree, some will disagree. Ultimately, even the world’s best teacher isn’t necessarily always right – but has earned the right to express his view!
He then goes on to discuss the relationship between Teacher and Pupil and that of Concert Activity for the Teacher. All in all, giving a very rounded view of what goes into the Art of Piano Playing.
A glimpse into the future
One amazing observation he made (when we consider that Neuhaus died in 1964) is on the importance of Recordings. He makes the wish that Masterclasses be recorded and shared with all piano students. Thanks to YouTube we now have this. I adore watching them, even if the students are light years ahead of my level. Hearing the insights of masters like Daniel Barenboim, Stephen Hough, András Schiff and others is a true privilege (and unbelievably it’s free).
He observes that we will learn far more from listening to how great pianists play than any teacher can ever teach. It made me smile when he recounts the story of a student who brought a recording of Rachmaninov playing one of his own concertos. He simply said to him – what do you want me to teach you? Everything you could ever need is on that recording. When you have listened to it carefully over and over, tell me what you have learned!
Again, with streaming services such as IDAGIO, we have access to all of this without leaving the armchair!
So, all in all, essential reading
The journey to improving our playing is about far more than simply ‘tickling the ivories’. I highly recommend getting hold of this book and taking the time to read it carefully. Don’t be afraid to take notes! Many of Neuhaus’ perspectives really opened my eyes. I’m sure there will be other posts to follow on what I have learned from this.
I’ll be delighted to hear your impressions.
