Physiologischen Fehler und die Umgestaltung der Klaviertechnik. English
Thesis (D.M.A.)--University of Rochester, 1963.
The principal part of this thesis will consist of a translation from the German of Physiologischen Fehler und die Umgestaltung der Klaviertechnik by Dr. F. A. Steinhausen. This work has not appeared in English, although its influence has been widely felt in pedagogical circles. The edition which will be used for the translation is that of 1913, published by Breitkopf und Haertel and containing commentary by Dr. Ludwig Riemann. The Riemann commentary will be translated only where its importance or pertinence seems necessary to supplement or to clarify the original text.
The importance of the book is partly historical and partly a consequence of the novel approach to the subject. The work is historically important because it represents one of the first clear breaks with the traditional technical schools. The emphasis is on what has come to be called the "weight" or "relaxation" school of piano playing, as developed subsequently by Breithaupt and Matthay. The new approach toward the subject stems undoubtedly from the profession of the writer: he was a medical doctor. The scientific training in his profession accounts, perhaps, for a certain rationality and clearsightedness--
qualities which are often most regrettably lacking in books in this field.
The schools of Breithaupt and Matthay owe much to the groundwork done by Steinhausen. Breithaupt, perhaps the best-known exponent of the weight school, gives credit to Steinhausen for his discoveries and utilizes most of the technical terminology developed by the latter.
The value of the Steinhausen book lies in its objective, revolutionary approach which refutes, explains and compares the new with the old--in contrast to Breithaupt, who, when the spade-work was done, was free to apply this approach in a practical way to specific pianistic problems. Steinhausen is quite aware also of the musical side of the pianist's art, and in trying to find the most effective means to the pianist's end, merely attempts to free him from much of the error of tenaciously held pedantic strictures in order to allow more attention to be concentrated on the interpretive role. Moreover, Steinhausen's book is written for pianists, in language that can be understood by individuals not familiar with anatomical terminology. Failure to limit the extent of such terminology has made many later works of a similar nature .incomprehensible to those for whom they were.intended.
Supplementing the translation itself, the author will attempt to synthesize in a succeeding chapter the most important points developed by Dr. Steinhausen, discussing their significance and, to some extent, evaluating them. Reference will be made to several other works on piano technique chosen especially for. comparison with Steinhausen's views. Steinhausen's position in the history of the field will thus be more clearly apparent and his pioneer work more readily evident.
Titles appearing in footnotes in the translation have been retained in German, there being in most cases no English translation available. Steinhausen's ordering of them is also retained. The section numbers appearing in the lefthand margin are those in the original text. References within the translation will be made using these numbers, according to Steinhausen's practice. Certain details of Steinhausen's punctuation, especially in regards to enumeration, have also been retained in the interests of faithfulness of translation.
