The Rarity of Achieving Virtuosity in Playing Liszt's Mazeppa After 3-4 Years of Piano Practice

Is it rare for a piano student to play Franz Liszt's Mazeppa well after 3-4 years of playing? The answer is resoundingly yes, and this rarity is often due to the improper movements that develop over time.

Giftedness and the Importance of Proper Movements

Piano virtuosity is not simply a matter of practice. It is fundamentally about proper movements. Babies are born with the ability to move properly, but as we grow, we often develop habits that are not optimal for piano playing. This is particularly true for pianists, who rely on a myriad of subtle and invisible movements, including those in the arms, elbows, and forearm muscles.

The Impact of Improper Movements

Improper movements are insidious. They can be ingrained into our muscle memory through practice, making it difficult to overcome them later. This is because we often think that more practice is always better, even if the practice is done incorrectly. The saying goes, "Practice doesn't make perfect, perfect practice makes perfect." When we repeatedly perform movements incorrectly, we reinforce these improper habits, making them harder to unlearn over time.

Understanding Virtuosos versus Teachers

Virtuosos are not just naturally gifted; they also have a deep understanding of their own movements. While they might feel what is fast and powerful, they may not necessarily understand the complexities of these movements. This is why virtuosos are often poor teachers. What comes naturally to them does not always make sense to others, nor does it convey the knowledge necessary to develop proper technique.

Learning from the Basics: Walking as a Metaphor

Learning to walk provides a useful analogy for understanding piano technique. Just as babies start by being clumsy and learn to control body movements and trust gravity, pianists must learn a wide array of movements including left-right, up-down, in-out, and forward-backward. Each of these movements presents unique challenges, and teachers often fail to understand these nuances. Instead, they may prescribe silly exercises and demand more practice, when what is truly needed is adjustment and knowledge of ergonomics, physics, and anatomy.

The Role of First Teachers

The movements we adopt early in our piano practice are often ingrained and difficult to change later. This is why the first teacher plays such a crucial role. If the first movements are correct, the foundation for virtuosity is laid. However, if the first movements are incorrect, the pianist is locked into a pattern that cannot be easily broken. Even with a wealth of experience and skill, the pianist is doomed to mediocrity because the brain has already hardwired the wrong movements.

Conclusion and Final Thoughts

In conclusion, the rarity of a piano student achieving virtuosity in playing Mazeppa after 3-4 years of playing is due to the persistent improper movements that can be instilled early in the learning process. This highlights the importance of proper technique from the beginning, typically dictated by the expertise of the first teacher. Understanding the interconnectedness of body movements in piano playing can greatly enhance the learning experience and pave the way for virtuosity.

Keywords: Virtuosity, Piano Practice, Ergonomics