It was one of the most informative and interesting articles we ever ran, I think. So I was more than delighted to log on to Rustem's website and see that he has now revised the article and much expanded it, complete with all mod cons such as recordings from the likes of Rachmaninov, Chaliapin and Neuhaus, to name but three. Rustem is now a professor at the Royal Academy of Music and has made some stunning recordings himself, notably of Rachmaninov.
Here's a taster of the article:
A great deal of confusion surrounds the term “The Russian Pianistic Tradition”. This phrase has been applied to any successful pianist coming out of Russia - often conjuring up images of fire-eating virtuosi scooping up competition prizes. And very often musicians with aesthetic principles as different as those of, for example, Sergei Rachmaninoff and Sviatoslav Richter are mentioned in the same breath as being representatives of the same “great Russian School”. To discover the true meaning of this term, I am going to look at some common features in the pianistic principles of several performers who belonged to this tradition.
Even the most superficial acquaintance with the recording legacy of pianists such as Sergei Rachmaninoff, Josef Lhevinne, Josef Hofmann, Vladimir Horowitz and Heinrich Neuhaus reveals that all of these pianists possessed an exquisitely beautiful tone. Their incredible achievements in this area were due to a very conscious cultivation of singing tone and colour on the piano, as the following quotations illustrate.
Josef Lhevinne dedicated a long chapter of his Basic Principles in Pianoforte Playing to “the secret of a beautiful tone”, in which he explains how a “ringing, singing” tone is to be achieved: “The main principle at first is to see that the key is touched with as resilient a portion of the finger as possible, if a lovely, ringing, singing tone is desired ... Just a little further back in the first joint of the finger, you will notice that the cushion of flesh is apparently more elastic, less resistant, more springy. Strike the key with this portion of the finger, not on the fingertips as some of the older European methods suggested ...”
He also emphasises the role that the free wrist and arm play in the production of a good tone: “... the wrist [is] still held very flexible so that the weight of the descending hand and arm carries the key down to key bottom, quite without any sensation of a blow.” And “... when the hand descends, as large a surface of the fingertip as feasible engages the key; and the wrist is so loose that it normally sinks below the level of the keyboard.”
This last passage holds particular interest because it testifies to the fact that Horowitz’s famous flat finger-low wrist technique was not a mere oddity but an integral part of this same tradition which he took to its extreme in the pursuit of his ideal of a singing tone...
