指法、技巧和生动的音乐——访美国著名钢琴教育家索罗门·米科夫斯基(下)

• 作 者: 迪安·埃尔德 郭小革
• 机 构: 美
• 出 处: 钢琴艺术
• 发表日期: 2003年07期
• 关键词: 钢琴教育家 钢琴学生 钢琴比赛 科夫 钢琴独奏 索罗门 练琴 切尔卡斯基 拉赫玛尼诺夫 鲁宾斯坦

记:许多老师在运用手臂重量和柔软手腕来控制与弹奏,但在勾画出流畅优美的音乐旋律方面得不到要领,而俄国学派,现在我知道还有法国的学派,是运用手臂、肩膀和全身的重量在弹奏的。 米:我同意你的前一部分观点,然而,我在巴黎教过法国的钢琴学生,发现他们运用手腕、手臂自然重量要比起我长期训练过的学生要少得多。

Note: Many teachers use their arm weights and soft wrists to control and play, but they can not get the essentials of smooth and graceful music melodies. The Russian school now knows that there are French schools using their arms and shoulders And the weight of the whole body is playing. M: I agree with your previous point of view. However, I taught French piano students in Paris and found that they were using their wrists and their arms had a much lower natural weight than my long-trained counterparts.