How to achieve this technique :O?

[classicalnhiphop]

@faulty_damper
i don't liker her playing too much; it's often too fast, but I don't think her technique is terrible.  
Also, who are the big name pianists who DID have good technique.  I know you already said Horowitz had bad technique, but who are some big names who did?

[awesom_o]

Stop addressing Mr Damper, please. He was exiled to PW and cannot answer your questions here on PS.

[classicalnhiphop]

wait, he actually got removed from PS?

[awesom_o]

I don't see him in the member directory... and he claims on PW to have been banned from PS.

Good riddance, I say!

[rachmaninoff_forever]

Lol

[coda_colossale]

Oh, I'll be missing the quite a bit of action his existence on the forum often caused.

[khantallis123]

This is one of the easier etudes, anyways, technically and musically...

[awesom_o]

This is one of the easier etudes, anyways, technically and musically...

Let's hear you play it, maestro!

 

In all seriousness, Horowitz found it to be extremely challenging!

As Horowitz said.... "the more you know, the harder it is"

[khantallis123]

But, the other etudes are harder, with the technical exception of 10 3   

[classicalnhiphop]

the difficulty of etudes, especially chopin etudes depend on what kind of stuff you're good at.  Usually the thirds etude is considered the hardest, but not for someone one who is great at thirds already!

[philolog]

Re Coda_Colassale's remark about Faulty Damper: I, too, find myself missing him, even though he could be frustrating at times. Certainly I was curious to see proof of his supposed mastery, but I suppose it's possible he didn't have the means to post a video/audio that would substantiate his claims. But giving him the benefit of the doubt and overlooking his often-outrageous statements-----Horowitz/Gould/Lisitsa didn't have good technique, for example------ he also sometimes had some interesting things to say. A little controversy never hurt anyone... 

[awesom_o]

Re Coda_Colassale's remark about Faulty Damper: I, too, find myself missing him, even though he could be frustrating at times. Certainly I was curious to see proof of his supposed mastery, but I suppose it's possible he didn't have the means to post a video/audio that would substantiate his claims.

It costs about $200 to buy a Zoom Q3. That's not exactly a lot of money. I'm sure people here would have chipped in to help him out if he'd asked nicely, given that so many people wanted to hear him play!

I guess you could always petition the site owner to allow him to return, but I don't think he'd want to, and I doubt you'd collect very many signatures. 

[flashyfingers]

I don't see how anyone is able to say that VL has poor technique, when no one with poor technique is able to play both sets of Chopin etudes and all Rachmaninoff concertos. That is just impossible. Her interpretation may be one dimensional, but as far as technique goes, she has pianistic strengths.

Also, prove to me why anyone with forearm muscle has poor technique.

I have no forearm muscle that sags like that. Does that mean I have good technique? 

I hardly would say so.

[flashyfingers]

Although I'm not the biggest fan of Lisitsa's interpretations in general, I have always greatly admired this particular performance of hers:

I don't like the way her technique sounds in the music of Chopin.  I find her Rachmaninoff a bit hit and miss, but in all honesty I've never heard a version of that Etude-Tableaux that surpasses hers in terms of excitement and colour. Very clear, electric sound, and effective musical choices for that work.

JESUS CHRIST!!!

[mohab95]

I'll be quoting loosely from the book by revered pianist Josef Hofmann:
While a student of Anton Rubinstein, Hofmann was once working on a very difficult piece by Liszt; where he asked his master for fingering suggestions. Rubinstein replied "Play it with your nose if you must".
It implies that technique is no solid testament for all pianists to comply with, every pianist has their strengths and they use them to their advantages. As for how you acquire certain techniques
they are simply to be practiced for a long time until 'mastered'. You can find very good technique books other than the standard Hanon, Czerny, etc. Certainly the Liszt 12 Technique books are much demanding but I believe they cover every aspect of piano technique. Worth a 5-year-long-shot.

[mike_lang]

Oh boy! There is a good reason out of school of Taubman, who taught "right" technique I don't know a single pianist of stature, or just a pianist to win a major competition. Ironically, according to our "expert", winners of Tchaikowsky, Chopin, Queen Elizabeth, Cliburn competitions, as well as major label artists have horrible and not worthy technique... Go figure...

Best, M

I think our friend N may be a bit confused about Ms. Taubman's priorities or not related things accurately. She's taught many of the principles that all pianists share: prudent use of arm weight, economy of motion, instant release of energy upon release in the keybed . . . I wouldn't be so quick to dismiss Taubman's work without watching a video of hers (or Golandsky's, but why not go to the source?).

Mike

[nyiregyhazi]

I think our friend N may be a bit confused about Ms. Taubman's priorities or not related things accurately. She's taught many of the principles that all pianists share: prudent use of arm weight, economy of motion, instant release of energy upon release in the keybed . . . I wouldn't be so quick to dismiss Taubman's work without watching a video of hers (or Golandsky's, but why not go to the source?).

Mike

I'm finishing a post at present that proves how flawed most of these issues are (in reference to the nature of what transfers speed to a key and in terms of what impact really means). You actually have to be doing something slightly different to what Taubman describes for success. They get pretty close to the reality, but there are some really bad oversights where you simply cannot succeed if you take them entirely at face value. I was grossly hindered for years by many of the things that they closed-mindedly preach. The method is better than many but needs a lot of significant corrections.

Have you seen their rotation demonstrations on youtube? I actually find it quite shocking how much impact and force is being used. Ditto with the octave demonstrations. It's really quite a bad example.

PS. Release of energy is what happens when a person jumps off a sky-scraper. The reality of an effective soft landing is based on positivity in the finger, but learning to slow down the arm a fraction in advance (so the arm doesn't compress the hand with it's large mass). It's like how you have to slow down the arm to let the line fly out, in casting with a fishing rod or using a whip. The idea of a mere "release" doesn't get the reality accurate at all and it didn't help me in the slightest. The fingers need to be positive about moving and the arm needs to pull back a tiny fraction at just the right moment BEFORE the keybed is reached. Release doesn't make a soft landing. It piles force into a hard landing. It's a very poor simplification indeed.