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Updated: May 16, 2025
"In regard to methods in piano study my principles are based wholly upon my observations of Leschetizky's work with me personally, or with others. What I know he has taught me; what I have achieved I owe to him.
Artists and teachers who have come under Leschetizky's influence and use his principles, are generally in favor of the metronome, according to their own testimony. The fact is, they as teachers often find such deficiency in their pupils on the subject of time sense and accuracy in counting, that they are forced to institute strict measures to counteract this lack of rhythmic comprehension.
To get the swing the impelling force the student must have played many pieces which have a tendency to develop this swing. The big waltzes of Moszkowski are fine for this. If one of Leschetizky's pupils had difficulty with rhythm he almost invariably advised them to go to hear the concerts of that king of rhythm and dance, Eduard Strauss.
In fact, the trained ear can identify different individual characteristics with almost the same accuracy that we identify different voices. One could never forget Leschetizky's touch, or that of many another contemporary pianist.
Most of the artists agree that memorizing must be done phrase by phrase, after the composition has been thoroughly analyzed as to keys, chords, and construction. This is Katharine Goodson's way, and also Eleanor Spencer's and Ethel Leginska's, three of Leschetizky's pupils now before the public.
Later, when these conditions have been thoroughly established, the hand can take any position required. Leschetizky's hand often lies quite flat on the keys. He has a beautiful piano hand; the first joints of the fingers have so long been held firmly curved, that they always keep their position, no matter what he is doing; if he only passes his fingers through his hair, his hand is in shape.
If we cut the figure in half, out of consideration for the accumulative difficulties of the music, there will still remain twenty-five pieces, enough for two programs and a very respectable showing for a year's study. It may be that Leschetizky's principle of memorizing will not appeal to every one. The player may find another path to the goal, one more suited to his peculiar temperament.
It might almost be said that he had a different method for each pupil, and I have often said that Leschetizky's method is to have no fixed method. Of course, there are certain preparatory exercises which with slight variations he wants all his pupils to go through.
We know of some of Leschetizky's famous pupils, but we never hear of the thousands he must have had, who have come to nothing. A teacher can only do a certain amount for you; he can give you new ideas, which each pupil works out for himself in his own way. The piano student learns from so many different sources.
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