Too good to be true
Too good to be true
Too good to be true
All those who registered for the workshop are united by a passion for playing the piano – a vocation that brings equal parts enthusiasm for not a few, but also physical discomfort. The piano can be an instrument of joy, but not infrequently, it is pain in the hands, arms or shoulders that clouds that joy. Too often, musicians accept these complaints, according to the motto: no pain, no gain. But this martial approach often ends in a dead end. Many ultimately see no choice but to give up the instrument and with it a lifelong dream. But this weekend is designed to inspire hope: through the Taubman Approach, which can reduce or even prevent these physical ailments.
The Taubman Approach: a lifeline for pianists
The Taubman Approach, developed by Dorothy Taubman (1917–2013), is a real lifeline for many pianists worldwide. Taubman began teaching in New York in the 1930s and quickly devoted her life to finding a solution for playing the piano in a technically demanding yet physically healthy way. In close collaboration with medical experts, she examined the physical stresses that playing the piano exerts on the hands and arms and developed a method to prevent injuries and alleviate or eliminate existing complaints. This approach enabled countless musicians to continue playing their instruments and ultimately to live the dream they had worked towards for years. Some were able to pursue their stage careers, others began teaching, and still others were able to maintain their hobby and express themselves musically.
Dorothy Taubman died at the age of 95, but had already made provisions for her succession during her lifetime. Edna Golandsky, her closest student, continued Taubman’s legacy after her death. Together with three other advocates of the method, she founded the Golandsky Institute in New York, which is dedicated to the dissemination and further development of the Taubman Approach. Deren Eryılmaz, a student of Golandsky who teaches and runs an institute in London using the Taubman Approach, organized a two-day workshop in Vienna in mid-October, to which she invited Edna Golandsky. Twenty-seven pianists – from beginners to conservatory teachers – came together to get a taste of the Taubman method or to improve their own playing technique with it. Some participants came with great expectations, others with a certain scepticism whether the method could really alleviate their long-standing complaints. But they were all brought together by the shared hope of a pain-free future at the piano, either for themselves or for their students.
The core of the Taubman method
The Taubman Approach is based on the realisation that many of the traditional techniques taught on the piano are the cause of physical strain and pain. Playing from the finger joints, large stretches, unfavourable fingerings and the incorrect use of the hand muscles – all this leads to overloading that can cause pain. Taubman realised that by using the strength of the forearms in a targeted way, combined with rotational movements, the fingers can be relieved and a muscular balance can be established. This technique not only makes playing healthier, but also safer, faster and more expressive in terms of sound. Ideally, this method should be taught from the very first piano lesson, but even advanced players can benefit from changing their technique afterwards. For many students, this realisation was a revelation: the idea that by changing their movement patterns, they could not only play pain-free but also grow musically was and is deeply inspiring.
The method is based on biomechanical principles that Taubman developed through years of experience and research. She realised that the key to avoiding injuries and improving playing technique lies in making optimal use of body mechanics. The Taubman method emphasises that playing should not be done in isolation from the fingers, but that the entire forearm and hand must function as a unit. By using the strength of the forearm, hand and fingers together, a balance can be achieved that minimises the risk of injury while promoting musicality. However, this holistic approach requires thorough training and constant awareness of one’s own movements. After a period of practice, these new movement patterns become automatic and form the basis for free, pain-free playing.
This article was the basis for this podcast. It was automatically generated by NotebookLM and is also available in German.
Practice in the workshop: technical corrections and musical expression
The workshop in Vienna offered much more than just theory, however. Golandsky’s thorough introduction was followed by intensive work on the instrument. Participants were able to ask questions, describe their personal difficulties and receive direct feedback and corrections. Golandsky proved to be a precise and empathetic teacher who quickly corrected poor hand positions, optimised unsuitable fingerings and helped participants to express their musical intentions more clearly. She always focused not only on technical execution but also on musical expression. Golandsky repeatedly emphasised that physical ease is the key to deeper artistic expression. ‘Technique and expression are inextricably linked,’ she explained as she showed a student how to play a melodic line more naturally and fluidly with less tension in the fingers.
She also pointed out the importance of connecting emotionally to the music. Technical understanding of the movements is important, but it is equally crucial to feel the music and develop a deep emotional connection to the pieces. The physical freedom achieved through the Taubman Method makes it possible to focus more intensely on emotional expression. It is this mind-body connection that elevates the musical performance to a new level and touches the hearts of the audience members.
From scepticism to euphoria: the energy of the seminar
The atmosphere at the seminar changed from one of tense expectation to genuine euphoria on the very first morning. Golandsky’s precise instructions, her in-depth knowledge of the subject and her empathetic manner created an energetic dynamic that swept all the participants along. Particularly touching were the testimonials of those who had struggled with pain for years and had rediscovered the joy of playing the piano through the Taubman Approach. A pianist from Cyprus taught himself the method during the coronavirus pandemic with the help of videos from the Golandsky Institute. His account of his experiences as a university teacher and his performance at the piano were among the highlights of the workshop. The emotional relief he described was met with great applause, demonstrating how profoundly the method can change the lives of musicians. Some of the stories told over the weekend were of an inner journey – from frustration and pain to new freedom at the piano. Many had a long odyssey of doctor’s offices and physical therapy that provided little to no relief before they finally encountered the Taubman Method. One particularly moving moment was when Jin Jeon talked about his painful experiences, which almost led him to give up playing the piano. He had received his first piano lessons in Korea as a child, but then went to Germany on the advice of his teachers to study the instrument here. He received his diploma with distinction, but at that time he was already suffering from severe pain in his hands and arms. In his search for a solution to his problem, he was sent from one renowned teacher to another, but to no avail. His pain became so severe that he considered ending his career as a pianist until, by chance, he found out about the Taubman method. He booked a workshop with Golandsky in Istanbul about ten years ago, who encouraged him to undergo training in New York. ‘I clearly remember that phone call with my mother, in which she asked me how I was doing, because I hadn’t complained of pain for quite some time. It was only at that moment that I realised that this chapter was in the past.’ His joy and relief at being pain-free for years now thanks to the Taubman method was palpable and evoked empathy in everyone in the room. His experiences with the Taubman method and his training with Golandsky now enable him to teach in Germany using this method.
Community and dialogue: one of the weekend’s valuable outcomes
Another important aspect of the workshop was the dialogue between the participants. The internationality of the group brought together a variety of perspectives and experiences. During the breaks, conversations could be heard in various languages – English, German, Spanish, French, Bulgarian, Turkish, Greek, Dutch and Italian – united by a shared passion for the piano. Many took the opportunity to make contacts and exchange ideas about their personal challenges and successes. Some even decided to support each other after the workshop and regularly report on their progress. The sense of community that emerged was another valuable outcome of this intensive weekend.
Many found it encouraging to realise that they are not alone in struggling with their piano playing, but that others are also experiencing similar challenges and want to work together to make changes after the workshop.
Biomechanical principles and practical application
In addition to the personal progress and insights that the participants gained during the workshop, there was also a deeper examination of the principles of the Taubman method. Golandsky provided a detailed introduction to the biomechanical principles of the method and explained why certain movements lead to overloading and how these stresses can be minimised by using alternative movement patterns. The importance of these biomechanical approaches was illustrated by means of clear examples. Golandsky used complex piano passages to show how applying the right technique not only reduces physical exertion but also significantly improves musical expression. It became clear that the Taubman Approach is not just a technique for avoiding pain, but also a tool that promotes and expands artistic expression. Golandsky repeatedly emphasised that relaxed and pain-free playing is a prerequisite for conveying the musical message without restriction.
Challenges and stamina
The Taubman Approach, however, requires patience and dedication. The workshop participants experienced first-hand that changing habitual movement patterns does not happen overnight. It takes time to change old, deeply ingrained playing habits that have become fixed in muscle memory and to internalize new movement sequences. Golandsky emphasized that it is perfectly normal to experience setbacks and that the process of change does not happen overnight. She encouraged everyone to be patient with themselves and to celebrate even small successes. The path to a healthier playing style is not a straight line, but a process of constant learning and adaptation, with ups and downs. This idea helped many to adjust their expectations and to focus on continuous improvement rather than hoping for instant perfection.
Live demonstrations and a sense of achievement
One particularly impressive demonstration of the Approach was when Golandsky worked live with a number of pianists on pieces that are considered particularly difficult. It was repeatedly shown that even the most complicated passages became significantly easier to play by adapting the technique. Problematic passages, which were often also a source of anxiety, could be eliminated in a few moments with Golandsky’s support. These experiences of success were not only a confirmation of the effectiveness of the method, but also an incentive for everyone present to integrate these insights into their own practice. Among other things, fast runs and jumps, which are a particular challenge for many, became significantly smoother and more secure through the use of rotational movement of the forearm. It was impressive to see how quickly the results of Golandsky’s corrections became visible.
A final word full of inspiration
As already mentioned, Golandsky repeatedly emphasized that playing the piano is not just about technique. In her closing remarks, she recalled a credo of Taubman, who wanted to completely revolutionize teaching: ‘Our teaching must change fundamentally, away from blaming students for not being able to do something or being untalented. We teachers must recognize that it is our job to find the words with which we can make ourselves understood.’ Golandsky talked about her own time as a student and the many moments of doubt she had experienced before she met Dorothy Taubman. In every single lesson she was able to experience with the pioneer of this piano pedagogy, another door opened to a new insight. Her personal account of her experiences, including her successes with students, deeply inspired many of those present and underlined the fact that the Taubman Approach is not only a technical, but also an educational revolution: it is about empathy, recognizing individual needs and supporting each and every student.
The responsibility to support the next generation of pianists not only technically, but also emotionally and in terms of their health, was internalized as the central message of the workshop. Many resolved to integrate the principles of the Taubman Approach not only into their own playing, but also into their teaching, in order to enable their protégés to have a healthy and fulfilling musical future. Training is available in New York, at the Golandsky Institute, in London at the ‘Deren Piano Academy’, or from certified Taubman teachers. Since Covid, these teachers have not only been teaching in person, but also online, and thus across the globe.
Conclusion: The Taubman Approach as a guide to a healthy future
The Taubman Approach shows that playing the piano is not only a musical art, but also a physical one that can be healthy if taught correctly. What seems obvious at first glance is a revolutionary realization in a world where pain is often seen as the necessary price of virtuosity. Workshops like the one in Vienna and the opportunity to work with a teacher like Edna Golandsky are invaluable for a healthy, sustainable musical future. But we have a long way to go. The participants of the Vienna workshop agreed that there is still a lot to be done to anchor the Taubman Approach in broad piano pedagogy. More teachers are needed who are willing to study the method intensively and pass on their knowledge.
The Taubman Approach is not just a technique, but a philosophy of piano playing that puts the human being at the centre. It shows that the limits of what is possible are not defined by physical pain or limitations, but by the courage to break new ground and question old habits. Workshops like these are an important step in this direction – a step towards healthier, more sustainable and artistically more fulfilling piano playing. It is to be hoped that in the future the Taubman Method will continue to gain popularity and find its place in musical education. All those who catch fire become ambassadors of this method and naturally carry what they have learned into their own teaching practices and musical communities. In this way, the vision of Dorothy Taubman and Edna Golandsky can live on and help make playing the piano healthier and more fulfilling for future generations.
The promise of playing without pain is not too good to be true. It actually delivers what it promises. Not just for a short time, but for a lifetime with and through the most beautiful instrument there is: the piano, said Edna Golandsky in her touching closing remarks.
This article has been automatically translated with deepl.com
