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Basic Principles in Pianoforte Playing (Dover Books On Music: Piano) Paperback – June 1, 1972
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This little book, written at the height of his career by Josef Lhevinne, the "inward poet of the piano," is a clear statement of principles based on his lifelong experience in performance and teaching. Lhevinne was, with Rachmaninoff, Schnabel, and Hoffman, one of the great modern masters, and was the first artist invited to teach at the newly formed Julliard Graduate School of Music.
Technique, through essential, must be subordinate to musical understanding. Complete knowledge of scales, apprehended not mechanically but musically; understanding of the uses of rests and silence, which Mozart considered the greatest effect in music; a feeling for rhythm and training of the ear; these are the basic elements of a thorough grounding in musicianship and are accordingly emphasized in the opening chapters.
The heart of the book is devoted to the attainment of a beautiful tone. Anyone who has heard Lhevinne play or has listened to one of his recordings will know how great were his achievements in that area. The secret lay, at least in part, in the technique he called "the arm floating in air," and in the use of the wrists as natural shock absorbers. The achievement of varieties of tone, of the singing, ringing tone, of brilliancy, of delicacy, and of power are all explained in terms of a careful analysis of the ways in which the fingers, hand, wrist, arm, and indeed the whole body function in striking the keys. There are further remarks about how to get a clear staccato and an unblurred legato, about the dangers of undue emphasis on memorization and the need for variety in practicing, and special comments on the use of the pedal, which should be employed with as much precision as the keys.
Throughout, specific musical examples are presented as illustrations. The author draws not only upon his own experiences and methods, but upon the examples of Anton Rubenstein and of his teacher, Safonoff, for this remarkably lucid and concise formulation of basic principles.
- Print length48 pages
- LanguageEnglish
- PublisherDover Publications
- Publication dateJune 1, 1972
- Dimensions5.41 x 0.2 x 8.43 inches
- ISBN-100486228207
- ISBN-13978-0486228204
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Editorial Reviews
From the Back Cover
This little book, written at the height of his career by Josef Lhevinne, the "inward poet of the piano," is a clear statement of principles based on his lifelong experience in performance and teaching. Lhevinne was, with Rachmaninoff, Schnabel, and Hoffman, one of the great modern masters, and was the first artist invited to teach at the newly formed Julliard Graduate School of Music.
Technique, through essential, must be subordinate to musical understanding. Complete knowledge of scales, apprehended not mechanically but musically; understanding of the uses of rests and silence, which Mozart considered the greatest effect in music; a feeling for rhythm and training of the ear; these are the basic elements of a thorough grounding in musicianship and are accordingly emphasized in the opening chapters.
The heart of the book is devoted to the attainment of a beautiful tone. Anyone who has heard Lhevinne play or has listened to one of his recordings will know how great were his achievements in that area. The secret lay, at least in part, in the technique he called "the arm floating in air," and in the use of the wrists as natural shock absorbers. The achievement of varieties of tone, of the singing, ringing tone, of brilliancy, of delicacy, and of power are all explained in terms of a careful analysis of the ways in which the fingers, hand, wrist, arm, and indeed the whole body function in striking the keys. There are further remarks about how to get a clear staccato and an unblurred legato, about the dangers of undue emphasis on memorization and the need for variety in practicing, and special comments on the use of the pedal, which should be employed with as much precision as the keys.
Throughout, specific musical examples are presented as illustrations. The author draws not only upon his own experiences and methods, but upon the examples of Anton Rubenstein and of his teacher, Safonoff, for this remarkably lucid and concise formulation of basic principles.
Product details
- Publisher : Dover Publications; Revised ed. edition (June 1, 1972)
- Language : English
- Paperback : 48 pages
- ISBN-10 : 0486228207
- ISBN-13 : 978-0486228204
- Item Weight : 3.84 ounces
- Dimensions : 5.41 x 0.2 x 8.43 inches
- Best Sellers Rank: #697,581 in Books (See Top 100 in Books)
- #752 in Music Techniques (Books)
- #1,247 in Classical Music (Books)
- #2,445 in Piano & Keyboards
- Customer Reviews:
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If you've been schooled in this line of pianistic thinking, some of the concepts may seem elementary, but note the title. Still, Mr. Lhevinne's writing is clear and erudite. A pleasure to read.
Edit 4/29/2012
This is still a great book, though I realized I should have added some additional information. This book is very short, and covers a huge amount of ground in a very short time. It's a great way to tie together all of your technical knowledge if you already have the requisite know-how. On the other hand, I question how useful it might be to someone who has no clue. At any rate, not for beginners!
The writing is deceptively facile. While it's very easy to read, you'll miss important nuggets of wisdom if you don't read carefully.
Top reviews from other countries
I learn many things thank to this book
Mrs. Rosinna Lhevinne was Mr. Lhevinne's wife, not sister.
Wonderful Book! Mr. Lhevinne draws not only upon his own experience and methods, but upon the examples of Rubinstein and his teacher, Safonoff, for this remarkably lucid and concise formulation of basic principles.
Trata especialmente del modo de producir un sonido de calidad, de la forma de lograr potencia sin estridencia y la de tocar delicadamente pero sin dejar huecos en el tejido musical, así como del toque legato, el staccato.
Aun dentro de las limitaciones que impone un librito de sólo 48 páginas, los comentarios son muy sugerentes para buscar una técnica pianística basada en la musicalidad y la belleza del sonido.