PRACTICE TIPS #55: Czerny & Hanon: Last of the Reader Replies
. . . I Promise!
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Brent Hugh
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Jan 29, 2001 22:18 PST
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PRACTICE TIPS #55: Czerny & Hanon: Last of the Reader Replies . . . I Promise!
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Here are more responses to the Abby Whiteside quote about Hanon and Czerny
exercises. Thanks again to ALL who replied, and I'm just sorry I couldn't
include every one of the replies!
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Leon makes some good points when he writes:
Where do the great pianists of the world come from? Some from the USA (check
their backgrounds for the Russian technique influence), many from Russia and
Slavic countries, and of course, China, Korea, Japan, etc.
I have visited and observed in Russia, have performed and given Master
Classes in China, and have had, over the years, many Asian pupils, who
attained earlier foundation in their native countries.
I believe that early on the budding pianist must come to grips with what I
will call "forms" or technical sets,, allowing for key manipulation. What the
teacher brings to such work in the way of imagination (accents, rhythms,
touches, dynamics, articulations, "reverse accents", etc will provide a
grounding for the workin out of greater technical problems later on.
The question is the same as pro/con scales, arpeggios, etc and whether they
are valid forms for technical building and retention.
And, our pedagogical history is replete with words form the great teachers
and pianists concerning the necessity of working with Hanon, Czerny, and I
might add Picshna...always in appropriate dosage, and always in a musically
espressive spirit.
The TEACHER makes the difference in these matters. They can be harmful if
approached with the dullard mentality of just "playing them over and
over"...but witness that most every problem at the advanced level comes from
uncordinated muscular and mental conditions, ie. "no fingers". We must
provide our students with physical means for accessing the traditional
literature easily. Master of the the technical forms in Hanon, and Czerny,
can help, under the vigilant watchfulness of the dedicated teacher.
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Andrew wrote:
I find this quote interesting every time I read it. Though I agree with
Whiteside that boring practice should be avoided, I disagree with her
tossing out Hanon and Czerny without a second thought. Not all pianists have
the same opinion of what is interesting. I would agree that Hanon is boring,
but I know pianists who enjoy playing his exercises. I personally enjoy many
of Czerny's exercises.
You stated, "There is no question that this regimen (plowing through Hanon
and Czerny) was good for the pianist's technique." I strongly disagree with
this statement. The word "plowing" suggests a mindless, rote playing of the
exercises. As Kochevitsky well expresses in _The Art of Piano Playing_, this
is not helpful to technique; it can, in fact, be detrimental. There is no
useful improvement of technique when you aren't able to concentrate on and
think about what you're doing.
[Thanks for your reply, especially in the second paragraph. I couldn't
disagree with myself more nor agree with you more! --B]
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David wrote:
I have attended the Sonata Piano Camp in Bennington, VT, and many "alumni"
of the camp have our own e mail group, and had a long discussion of the
same thing. The prevalent view was the Same as Abby Whiteside's--a strong
sense that Clementi Sonatinas and Bach Inventions would be more
appropriate--or, for
the more talented, the Chopin Etudes. On the other hand, I have also been
struck in reading about the great pianists who disproportionately came from
Russia or middle Europe that their conservatory training involved a heavy
dose of Hanon--in all keys. So, for the motivated, there may be utility.
For most of us, who do not strive for true virtuosity (which does not mean
we don't want to be very good!), there may be alternatives.
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Happy Practicing!
--Brent
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