Recap of the Golandsky Institute NYC Workshop and Some Reflections on the Taubman Approach: Part I

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!