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Interpretation, Theory, and Knowledge

Appropriate interpretation of a musical work is possible only when:

The musician (interpreter) has a knowledge of style, of the work’s quality criteria, and of the period in which the composer worked,

The musician has the ability to read the score, has the aptitude to decipher and understand all the precise instructions left by the composer, as well as the ability to comprehend the work’s artistic idea,

The musician is able to exercise free artistic expression without contradicting the composer’s idea, and

The musician has the technical freedom and capacity to achieve the composer’s idea and to fully “live” the work.

When these parameters are not respected, a pianist cannot hope to be successful in meeting the public’s demands for quality performance.

For example, a pianist might play a classical work as if it were romantic one (1). He might invent his own tempos, rhythm, and dynamics (sound volume) instead of those conceived and balanced by composer (2).
He might close his heart, dashes (surges), his temperament and hides his individuality by fear to violate the stereotypes, founded by the greats pianists of the past (3),

Or, he might not be able to play quickly enough without making errors, say, in two or three of the most difficult passages contained in a score 30 pages long.

Apart from the problems of interpretation, a musician must still learn how to overcome two other challenges, which await him once he is on the scene of the performance. These are stress, (fear of the public/stage fright), and the apparent impossibility of playing a score by heart.

So, how best to overcome all these difficulties?

One solution might be to read the music methodological literature. However, this experience would be like that of the hero of Jerome’s book, "Three Men in a Boat". The hero read an encyclopaedia of medicine only to believe that he had every disease described therein, except puerperal fever.

Another solution might be to constantly listen to the recordings of the great pianists in an attempt to separate out their secrets. Of course, that approach which would most likely rapidly lead the listener to develop an inferiority complex. I recommend neither of these solutions.

To learn most effectively, a student should apply himself to an experienced and kind instructor (pedagogue) who will teach in a rational and effective way.
Being such an instructor, I will listen to you attentively, will understand your problems, will help you to improve your level of piano performance, and I can aid in revealing your artistic individuality.

Such an instructor, will pilot you through all the pitfalls that exist in piano compositions, and will aid you towards achieving perfection, comfort on scene, and a good relationship with your audience.

The above partially describes how and what I teach.

Further, this website explains my method of teaching young pianists and pupils.

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Professor´s introduction
Teacher education
Principal targets of my teaching
My role as professor of piano
Advanced and intermediate levels
Why does one need to play the piano?
Organisation of classes
Master classes. Intensive daily cours of study