Ancient thread but I must an "Appendix" Comment:

I'm 63, playing since 6, amazing at 10, hit brick wall at 12.

My Renaissance began around 50 when I realized piano technique was a true Marshal Art: Speed, Strength, and Accuracy. I immediately realized always practicing slower and louder with the fingers was NOT the way to do it.

Arm Weight and Rotation I've just learned about in the past couple months and I'm making progress again.

However, I refuse to invest countless hours practicing a dead end approach. So I am absorbing all the information I can from text to performance.

Valentina Lisitsa appears as an anomaly compared to Horowitz, Buniatishvili, Wang, Lang, Kissin, etc. (although she might be closest to Horowitz's usually flat finger approach.

Lisitsa said something in an interview which really hit me. When asked about her style of technique, she said all her teachers tried to change it and she refused. She said it is not Taubman or Alexander... and DEFINITELY NOT RUSSIAN!

What did she mean by the Russian School? I don't know what that school is, but I'm thinking Rach and his ability to rip every Hanon in every key at what 200?

My interpretation of Lisitsa's remark is that she does not indulge in Hanon.

Another insight may be revealed by Rani Shankar, the sitar master. He said that nothing but scales and exercises are done for a number of years before even the first piece of music is learned.

Perhaps Hanon has merit when one is developing. Once Rach got to 200, obviously it was maintenance since then.

Personally, my wish would be to play with the visual artistry of Lisitsa's hands. It is a ballet of the highest order.

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