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The Art of Piano Playing
This classic was written by a legendary piano teacher and former student of Leopold Godowsky who trained Vladimir Horowitz, Sviatoslav Richter, Radu Lupu, Emil Gilels, and many other famous virtuosos. In one of the most authoritative and widely used books on piano playing, Heinrich Neuhaus offers practical recommendations and analysis, including advice on tone, technique, and teaching. Ranging from precise examples to general principles, his suggestions are seasoned with personal experiences and leavened with humor.
"Do not find yourself in the music but find the music in yourself," Neuhaus declared. The great Russian pianist focuses on students' intellect, stressing the development of an understanding of the language in which musical works are written. He encourages players to strive for an appreciation of the work's content, meaning, and essence, with a particular emphasis on sound and balance. By exploring nuances of phrasing, rhythm, and dynamics, Neuhaus's teaching system guides students toward the achievement of a musical work's true artistic meaning.
"Do not find yourself in the music but find the music in yourself," Neuhaus declared. The great Russian pianist focuses on students' intellect, stressing the development of an understanding of the language in which musical works are written. He encourages players to strive for an appreciation of the work's content, meaning, and essence, with a particular emphasis on sound and balance. By exploring nuances of phrasing, rhythm, and dynamics, Neuhaus's teaching system guides students toward the achievement of a musical work's true artistic meaning.
240 pages, Paperback
First published January 1, 1958
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June 13, 2007
Neuhaus (1888-1964) is enjoyable to read, but he can be excessively chatty at times. From the material contained in this book, he could have easily had two separate books: (1) a book that gets to the point and is more direct in terms of piano instruction, and (2) another book containing his memoirs and experiences. He mentions that he does not want to write a textbook because too many have already been written. Neuhaus imagines a future world in which we listen/watch tapes of master teachers and don’t do much with books (p.139). Well, it’s the 2007 future and we are still reading textbook. I wouldn’t mind having a textbook by Neuhaus to add to the pile :)
September 2, 2007
An interesting book by a legendary teacher who trained the likes of Vladimir Horowitz, Sviatoslav Richter, Radu Lupu, and others. Although his writing style is somewhat antique, his pedigree as a musician is inarguable, and I had many illuminating moments while reading this book. He has an annoying habit of constantly addressing the reader and of defending himself against imaginary critics, but other than that he writes with the strong voice of a man who has spent his whole life in the service of music.
February 11, 2016
Neuhaus is the teacher of the great pianists: Emil Gilels, Richter and Horowitz.
I can't believe this book is in my hands now
I can't believe this book is in my hands now
August 20, 2007
One of the best books I've ever read. Brilliant teacher and beautiful writer...sometimes poetic.
May 22, 2022
He applies dialectical materialism to piano playing, so beautifully well.
You may sometimes listen to recordings of modern pianists, and see that there is this sameness to their interpretation, and the spirit which is founded in many: Rubinstein, Richter, Horowitz, Sofronitsky, etc. is lacking in modern times.
Reading this made it clear to me, the missing link is having a dialectical approach to piano playing. Our institutions (the base), has basically perpetrated a superstructure of a cowardly formalistic analysis of music, an overall sad analytic outlook. This is approach is thoroughly countered in this book, and if you can TRULY understand and apply the principles Neuhaus speaks about, you can reach the levels of these masters I would say, or get close enough to create truth in your music.
You may sometimes listen to recordings of modern pianists, and see that there is this sameness to their interpretation, and the spirit which is founded in many: Rubinstein, Richter, Horowitz, Sofronitsky, etc. is lacking in modern times.
Reading this made it clear to me, the missing link is having a dialectical approach to piano playing. Our institutions (the base), has basically perpetrated a superstructure of a cowardly formalistic analysis of music, an overall sad analytic outlook. This is approach is thoroughly countered in this book, and if you can TRULY understand and apply the principles Neuhaus speaks about, you can reach the levels of these masters I would say, or get close enough to create truth in your music.
Read
June 25, 2022'My method of teaching, briefly, consists of ensuring that the player should as early as possible (after a preliminary acquaintance with the composition and mastering it, if only roughly) grasp what we call "the artistic image", that is: the content, meaning, the poetic substance, the essence of the music, and be able to understand thoroughly in terms of theory of music (naming it, explaining it), what it is he is dealing with. A clear understanding of this goal enables the player to strive for it, to attain it and embody it in his performance; and that is what "technique" is all about.'
Heinrich Neuhaus was a Russian piano teacher in the 20th century. Unlike his countryman, Josef Lhevvine, who taught at Juilliard around the same time, Neuhaus would remain in Russia as a teacher at the Moscow Conservatory.
Born to two piano teachers, he was mainly self-taught. By age 11, he was giving public concerts of Chopin's waltzes. However, despite this early success, he made plans in his 20s to take his own life after seeing Arthur Rubinstein premiere a sonata by Szymanowski. He saw the gulf between him and Rubinstein as too large. Rubinstein and Syzmanowski would track him to Florence, where he was eventually found safe. Ten years later he would begin teaching at the Moscow Conservatory.
Among his pupils at the Moscow Conservatory were three considered amongst the greatest pianists of all time: Sviatoslav Richter, Emil Gilels and Radu Lupu. Richter will show up recurrently in this book, as an exemplar of excellent piano ability.
I will list below some of the parts of the book I found useful for my own piano practice:
As early as possible, grasp the 'artistic image' of a piece. This includes several steps. One must understand the content of the piece, its poetic substance, and be able to understand and verbally describe what is happening in terms of at least basic music theory. He calls this 'naming it, explaining it'. It is through this clear artistic image that a person can strive to attain greatness in their playing. This reminds me of the importance of aural memory in Roger Chaffin's 'Practicing Perfection' which presupposes that a pianist can hear the piece in their mind.
'Technique' comes from the Greek word for 'art'.
Lizst would sometimes repeat a difficult section over a 100 times.
Richter practiced a difficult section for two hours.
Neuhaus uses the metaphor of boiling a kettle of water to explain the role of intensity in working on difficult sections.
From the earliest possible lessons, a child should be able to play happy pieces happy, sad pieces sad, etc. Playing the notes is not enough. The artistic image demands a holistic reading.
Use imagination, metaphor and analogies to heighten the artistic image.
Study a piece as a conductor studies it by breaking it apart and analysing it. This should be done in addition to the usual hands separate practice.
Talent = passion + intellect.
For people with creative imagination, all music is programme music.
Rhythm is often compared to the pulse of a living organism e.g not a swinging pendulum, but instead phenomena like waves or the 'swaying of a wheat field.'
To maintain rhythm, pretend you are a conductor guiding an imaginary pianist.
It is up to the teacher to make the student experience art as the very substance of life.
Great pianists see the whole of the piece, its unity.
Turn difficult sections into exercises.
In the musician's bible, it begins with the words, 'In the beginning there was rhythm.'
Music is a tonal art and produces no visual image. Since it is a tonal work, it is essential to work on tones.
Neither overrate or underrate tone.
Tone is the most difficult work as it requires a good ear - many piano students do not have this. Lhevinne noted the same.
3/4 of his work with his pupils is on tone.
'Repetitio est mater persuadendi' - Repetition is the mother of persuasion.
Ensure that the melody is louder than the accompaniment.
Strive to develop the ear and the faculty to imagine.
To get rid of tension, he would recommend his students to drop their arms lifelessly like a dead body.
Pedalling has a different effect depending on how far down you press it.
A teacher used to tell his pupils when watching Scriabin play, 'What are you looking at his hands for? Look at his feet!'
A main aim of the teacher should to - as quickly as possible - be no longer necessary to the pupil.
Return to older pieces that you had once mastered.
I agree with another reviewer that Neuhaus does lose focus and it spills into memoir. However, there are enough rewards to be had to weave through this zigzagging.
As an appendix to this review, here are two wonderful quotes from Richter found on his Wikipedia page that sums up the role of the pianist:
'The interpreter is really an executant, carrying out the composer's intentions to the letter. He doesn't add anything that isn't already in the work. If he is talented, he allows us to glimpse the truth of the work that is in itself a thing of genius and that is reflected in him. He shouldn't dominate the music, but should dissolve into it.'
'[A pianist should] carry ... out the composer's intentions to the letter.'
Heinrich Neuhaus was a Russian piano teacher in the 20th century. Unlike his countryman, Josef Lhevvine, who taught at Juilliard around the same time, Neuhaus would remain in Russia as a teacher at the Moscow Conservatory.
Born to two piano teachers, he was mainly self-taught. By age 11, he was giving public concerts of Chopin's waltzes. However, despite this early success, he made plans in his 20s to take his own life after seeing Arthur Rubinstein premiere a sonata by Szymanowski. He saw the gulf between him and Rubinstein as too large. Rubinstein and Syzmanowski would track him to Florence, where he was eventually found safe. Ten years later he would begin teaching at the Moscow Conservatory.
Among his pupils at the Moscow Conservatory were three considered amongst the greatest pianists of all time: Sviatoslav Richter, Emil Gilels and Radu Lupu. Richter will show up recurrently in this book, as an exemplar of excellent piano ability.
I will list below some of the parts of the book I found useful for my own piano practice:
As early as possible, grasp the 'artistic image' of a piece. This includes several steps. One must understand the content of the piece, its poetic substance, and be able to understand and verbally describe what is happening in terms of at least basic music theory. He calls this 'naming it, explaining it'. It is through this clear artistic image that a person can strive to attain greatness in their playing. This reminds me of the importance of aural memory in Roger Chaffin's 'Practicing Perfection' which presupposes that a pianist can hear the piece in their mind.
'Technique' comes from the Greek word for 'art'.
Lizst would sometimes repeat a difficult section over a 100 times.
Richter practiced a difficult section for two hours.
Neuhaus uses the metaphor of boiling a kettle of water to explain the role of intensity in working on difficult sections.
From the earliest possible lessons, a child should be able to play happy pieces happy, sad pieces sad, etc. Playing the notes is not enough. The artistic image demands a holistic reading.
Use imagination, metaphor and analogies to heighten the artistic image.
Study a piece as a conductor studies it by breaking it apart and analysing it. This should be done in addition to the usual hands separate practice.
Talent = passion + intellect.
For people with creative imagination, all music is programme music.
Rhythm is often compared to the pulse of a living organism e.g not a swinging pendulum, but instead phenomena like waves or the 'swaying of a wheat field.'
To maintain rhythm, pretend you are a conductor guiding an imaginary pianist.
It is up to the teacher to make the student experience art as the very substance of life.
Great pianists see the whole of the piece, its unity.
Turn difficult sections into exercises.
In the musician's bible, it begins with the words, 'In the beginning there was rhythm.'
Music is a tonal art and produces no visual image. Since it is a tonal work, it is essential to work on tones.
Neither overrate or underrate tone.
Tone is the most difficult work as it requires a good ear - many piano students do not have this. Lhevinne noted the same.
3/4 of his work with his pupils is on tone.
'Repetitio est mater persuadendi' - Repetition is the mother of persuasion.
Ensure that the melody is louder than the accompaniment.
Strive to develop the ear and the faculty to imagine.
To get rid of tension, he would recommend his students to drop their arms lifelessly like a dead body.
Pedalling has a different effect depending on how far down you press it.
A teacher used to tell his pupils when watching Scriabin play, 'What are you looking at his hands for? Look at his feet!'
A main aim of the teacher should to - as quickly as possible - be no longer necessary to the pupil.
Return to older pieces that you had once mastered.
I agree with another reviewer that Neuhaus does lose focus and it spills into memoir. However, there are enough rewards to be had to weave through this zigzagging.
As an appendix to this review, here are two wonderful quotes from Richter found on his Wikipedia page that sums up the role of the pianist:
'The interpreter is really an executant, carrying out the composer's intentions to the letter. He doesn't add anything that isn't already in the work. If he is talented, he allows us to glimpse the truth of the work that is in itself a thing of genius and that is reflected in him. He shouldn't dominate the music, but should dissolve into it.'
'[A pianist should] carry ... out the composer's intentions to the letter.'
May 15, 2022
One to which I will come back time and time again. It's shaped many thoughts on not only piano playing, but music and art and life.
To strive towards the artistic image - образ
To strive towards the artistic image - образ
January 5, 2023
There is some valuable material in here for both amateur and professional pianists. The writing style is rich and passionately intellectual, stuffed with examples, which shows the vast knowledge and experience of the author. But I could not help picturing the author as a rather arrogant old man, even cynical at times. In these modern times, it is quite uncomfortable to digest his descriptions of some of his pupils as "stupid", "ungifted", "idiotic", "moronic"... Next to this, his treatment of the subject -- at least to me -- comes across as complacent, puristic, stubborn and inflexible.
September 1, 2015
I gave up about a third of the way through. They're interesting observations but it's not a coherent narrative. It's best used as a reference or as something to study rather than as a book to read.
January 27, 2020
Full of excellent advice on everything from the technical to the abstract. Definitely a must read for anyone studying piano.
April 16, 2020
A classic. This guy might not be so famous now, but he's a legendary Soviet piano teacher, producing world-conquering pianists like Gilels and Richter. The great Horowitz was even his uncle's student. He's even personally acquainted with musical luminaries such as Artur Rubinstein, Godowsky, Szymanowski and so on. So it's not short on anecdotes. To add it up, this book is one of the most authoritative in its subject in Soviet Russia. I really enjoyed it. Not only it's informative, it's also rich on literary allusion and musical history. I've lost count how many times he mentioned Pushkin, Sophocles, etc.
Abounds with warning about common mistakes and discusses each aspect of piano playing from personal experience. Strays off topic sometimes to talk about his past, rendering the effect of having a piano lesson with an old wise teacher, a somewhat chatty one at that.
Abounds with warning about common mistakes and discusses each aspect of piano playing from personal experience. Strays off topic sometimes to talk about his past, rendering the effect of having a piano lesson with an old wise teacher, a somewhat chatty one at that.
October 4, 2020
I can't say I thoroughly enjoyed this book, but I can say it was helpful in many ways. I found myself taking notes despite uncomfortable sections where I found his language dismissive. However, I'm going to owe that to perhaps a different time and culture.
I found his summary of the overarching techniques found in piano literature in the chapter "On Technique" very useful in planning my own repertoire and goals.
The "Teacher and Pupil" chapter covered sensitive topics that many musicians can relate to, but find difficult to bring up and expand on.
This book can be very helpful to advanced pianists but I would take some of his opinions with a pinch of salt.
I found his summary of the overarching techniques found in piano literature in the chapter "On Technique" very useful in planning my own repertoire and goals.
The "Teacher and Pupil" chapter covered sensitive topics that many musicians can relate to, but find difficult to bring up and expand on.
This book can be very helpful to advanced pianists but I would take some of his opinions with a pinch of salt.
January 1, 2021
What a fantastic book. Neuhaus, like many other masters of their field, shows us that critical thinking and trying to find connections between seemingly dissimilar things is what leads to true artistry and mastery of piano playing. This is a book that will certainly get you to think about the music you are playing and how you are playing it. It is the type of book I will reread many times over the years to get something new out of it as I develop as a pianist.
July 20, 2025
I understand what Neuhaus was trying to do, but I found the book read too much like a biography. It took far too long to read through paragraphs of his experiences in teaching and performing, before I came to a paragraph about piano playing itself. This is mentioned in the conclusion, however, I think I would have had a different perspective on this book if it was mentioned at the start or described more as a biography. I would have preferred it if it were more concise and to the point.
April 17, 2020
Must read for pianist, especially intermediate players, also makes for a good discussion with the teacher.
Neuhaus focus on interpretation giving lots of insights, very enjoyable to read even the author claiming to be sometimes laconic.
There a lot of musical excerpts that would be better if it had a reference file to listen (which the author suggests at that time!)
Neuhaus focus on interpretation giving lots of insights, very enjoyable to read even the author claiming to be sometimes laconic.
There a lot of musical excerpts that would be better if it had a reference file to listen (which the author suggests at that time!)
October 14, 2025
The brilliant, insightful thoughts of a teacher who influenced an entire generation of virtuosos. While ostensibly for an audience of learners who wish to become performers, the book is a storehouse of musical and artistic wisdom that taught me to listen deeply to music and to focus on both the fleeting details and overall structure of any composition.
August 12, 2018
Very dense and packed with insight and wisdom; this was a project that took me the entire summer to finish. Completely worth it, though.
June 11, 2019
One couldn't read the book without falling in love with Neuhaus the teacher and the musician. Very practical read. Neuhaus was astonishingly self-aware and humble. And a great teacher.
January 22, 2020
Must-read for piano music history nerds :)
July 3, 2021
Definitely must read! One of the best...
January 1, 2022
Very helpful for pianists still studying.
January 12, 2022
A must read for every professional musician.
November 9, 2023
Een boek dat terecht een klassieker is.
This entire review has been hidden because of spoilers.
October 25, 2024
خیلی کتاب مفیدی است و نکات قابل توجهی رو ذکر میکنه که به شخصه برای من خیلی جذاب بود.
August 12, 2018
Nel corso della sua vita, Heinrich Neuhaus ha avuto la possibilità di insegnare l'arte del pianoforte ad una gamma di studenti (e talenti) vastissima, partendo dai più sordi e rigidi per arrivare a Emil Gilels e Sviatoslav Richter. Sebbene la fama di didatta di Neuhaus sia legata soprattutto a questi due nomi, ciò che emerge dal libro è una sensibilità straordinaria nel cogliere le abilità e possibilità di qualsiasi tipo di studente, cosa che non avrebbe potuto sviluppare se si fosse limitato all'aspirantura del Conservatorio di Mosca. Questa sensibilità è ciò che consente al libro di essere letto da pianisti e musicisti di qualsiasi livello, traendone beneficio non solo a livello pratico (per via dei consigli in esso contenuti), ma anche di atteggiamento e profondità in ciò che si sta facendo. Il libro è così efficace in questo da aver reso le mie sessioni di studio nel periodo della lettura molto più fruttuose di quanto siano normalmente.
Infine, senza dilungarsi sui contenuti del libro, ho particolarmente apprezzato la forma in cui è scritto: una serie di appunti successivamente riorganizzata. Non un trattato o qualsiasi altra forma che cerchi di affrontare l'arte del pianoforte nel suo complesso, ma una semplice serie di consigli ed esperienze esemplificative e pregne di significato. Del resto, ogni tentativo in senso contrario sarebbe stato assolutamente fallimentare e avrebbe reso la lettura inutilmente pesante e priva di spessore.
Il libro è in realtà consigliato per chiunque voglia comprendere meglio la musica e lo sviluppo di un'arte.
Infine, senza dilungarsi sui contenuti del libro, ho particolarmente apprezzato la forma in cui è scritto: una serie di appunti successivamente riorganizzata. Non un trattato o qualsiasi altra forma che cerchi di affrontare l'arte del pianoforte nel suo complesso, ma una semplice serie di consigli ed esperienze esemplificative e pregne di significato. Del resto, ogni tentativo in senso contrario sarebbe stato assolutamente fallimentare e avrebbe reso la lettura inutilmente pesante e priva di spessore.
Il libro è in realtà consigliato per chiunque voglia comprendere meglio la musica e lo sviluppo di un'arte.
January 22, 2016
Book Description
This classic was written by a legendary piano teacher 14 and student of Godowsky 14 who trained Vladimir Horowitz, Sviatoslav Richter, Radu Lupu, Emil Gilels, and many other famous virtuosos. Heinrich Neuhaus offers practical recommendations and analysis, including advice on tone, technique, and teaching. His suggestions are seasoned with personal experiences and leavened with humor.
Get it free here:
http://www.scribd.com/mobile/doc/5093...
This classic was written by a legendary piano teacher 14 and student of Godowsky 14 who trained Vladimir Horowitz, Sviatoslav Richter, Radu Lupu, Emil Gilels, and many other famous virtuosos. Heinrich Neuhaus offers practical recommendations and analysis, including advice on tone, technique, and teaching. His suggestions are seasoned with personal experiences and leavened with humor.
Get it free here:
http://www.scribd.com/mobile/doc/5093...
January 5, 2017
This is a definite classic on piano playing. It doesn't go much into the actual mechanics but offers much wisdom on interpretation, performance and life in general.
April 30, 2018
Besides the author writing from a sexist perspective where he states that women will never be able to play as well as men, the book is helpful and well-organized.
Displaying 1 - 28 of 28 reviews