While reflecting on my experience at the recent Golandsky Institute Workshop and the valuable insights I learned from the lectures there, I was reminded of two important ways in which the Taubman work differs from other technical schools or approaches.    

First, due to the analytical nature of the Taubman Approach and its ability to break down the elements of a virtuoso technique into distinct categories, Taubman students are able to continuously and systematically develop their independent problem-solving ability with each challenge they encounter.  The solution to every passage they solve fits into a larger context of how certain technical elements are applied, and therefore which elements to look for in similar passages, so that the Taubman student is able to create an ever-expanding knowledge bank regarding the specific applications of each technical element to different types of figurations.      

John Bloomfield’s lecture on fingering and Mary Moran’s lecture on Albeniz’s Tango in D reflected this aspect of the Taubman work.  Each lecture incorporated a number of examples of the specific application of the Taubman skills being discussed.  They demonstrated not only how the elements function in each example, but also how the solution was reached and how each example is similar to or different from the others.  For student teachers, like myself, this type of discussion not only broadens our understanding of how the technique functions, but also teaches us how to build a context for this knowledge—a skill we can then pass on to our own students.    

Since studying the Taubman Approach, difficult passages I could never have considered attempting before are now accessible to me.  This is due to the unique nature of the Taubman work:  it is truly a problem-solving approach, providing a comprehensive framework that allows the teacher and student to analyze and apply all the coordinated movements necessary to play any given passage successfully.  Once I realized the incredible extent and power of this work, I immediately became curious as to how to analyze many of the famously challenging passages in the piano repertoire. One reason I anxiously await the annual workshops presented by the Golandsky Institute in New York City each year is because they offer the opportunity to satisfy this intense curiosity, at least in part. 

At the recent Golandsky Institute workshop held on April 24th, Edna Golandsky discussed one such passage.  The second subject of Chopin’s Ballade No. 2 often causes advanced piano students difficulties (the excerpt Edna discussed runs from 2:21-2:33 in the recording below):

It was fascinating to hear Edna’s analysis.  Her presentation included ways that the application of specific technical elements are either consistent or inconsistent with similar passages from other works, as well as a summary of the common difficulties students encounter.

Look out for Part Two of this post coming soon to learn more about the NYC Workshop and the Taubman Approach!