Notes from the Pianist's Bench
The shelf of helpful and practical books on piano study is not a full one; perhaps only the books byJosef Lhevinneand by Artur Schnabel's studentKonrad Wolffbelong there. But Boris Berman has now added to it. Berman has taken on the difficult aspects of playing the instrument and has succeeded in several areas. Setting up opposing ideas--sostenutoversusleggieroplaying, fidelity to the score versus personal interpretation--he sends pianists to the instrument with a heightened awareness of what the body wants to show us. Berman is big on images (useful ones, by and large). He talks about the importance of breath (far too rare in piano lessons) and is good on the relation of finger stroke to dynamic level. He offers one fine exercise for voicing of chords and another--a long scale in diminuendo--for finger control. A chapter on time falters a bit on tempo--lots of examples but few concepts--but covers the idea of inner pulse and subdivision of the measure in an exemplary way.  Readers will want more help on fingering, but that is probably impossible in book format. There is a good deal of common sense on phrasing and repeated insistence on informed rather than mechanical practicing.For a pianist with a performing career in Rachmaninoff and Prokofiev, Berman has a surprising amount of respect for the printed scores, and his background in early music comes through several times. At the end, he continues into performance (lots of ideas from the acting teacherStanislavskyhere) and includes a welcome chapter on teaching. This is, in fact, a book to use with your own teacher--ideas about "out" stroke, sustained relaxation ("both impossible and unnecessary"), and wrist height could be dangerous if misunderstood--but it will be provocative. Many musical examples, admirably proofread and helpfully cross-referenced, are included.--William R. Braun--This text refers to an out of print or unavailable edition of this title.