Ševcík I: analysis before synthesis
January 25, 2012 at 6:15 PM
This is a first attempt to extract some of the principles behind Otakar Ševcík's repertoire studies. I'm sure others are much more qualified to do this than I am, but as far as I know, no-one has tried, so here goes. Of course, corrections and additions are most welcome.
On the first page after the Introductions (in eight(!) languages) Ševcík writes:
"Each section of the concerto should be played only when one has finished its relative study. But it lies entirely with the pupil to treat each section according to its grade of difficulty resulting from it."
By putting analysis before synthesis, Ševcík avoids a lot of trouble. One gets used to the correct intonation, phrasing, dynamics, etc. as soon as possible, and more importantly, one is spared the feeling of "oh dear, this is difficult! I'll never be able to play this!"
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