Abstract:
The technique documented in this thesis is being recorded for
the first time. I am indebted to Prof. G. van der Geest for
allowing me to conduct original research for my Honours
Degree. Owing to the nature of this research very few sources
are available dealing specifically with the technical aspect
of this method. The only printed sources currently available
are two magazine articles. both interviews with the developer.
Peter Feuchtwanger. Further source materials. besides the
standard reference works used for comparative purposes. consist
of comprehensive notes to a lecture written by Peter
Feuchtwangerls close friend. some time assistant and pupil.
Marian Friedman. Two in-depth personal interviews were conducted
with Ms Friedman and have been duly noted in the bibliography.
About Peter Feuchtwanqer
Peter Feuchtwanger is not only a world-renowned piano teacher
with such famous pupils as Shura Cherkassky. Marc Raubenheimer
and Martha Argerich, but has also taught winners of international
competitions such as the Rubinstein International Competition in Israel. Aoart from teaching privately. Feuchtwanger
also presents master classes in Germany. the USA.
Israel. .Japan and other countries. including his annual
classes in interpretation in Switzerland (in Lutry. Sion and
Rapperswil Castle) (Burkhalter 1980:310).
Feuchtwanger notes his most influential teachers as being his
first teacher. Gertie Rainer (a pupil of Emil von Sauer). and
Dr Hans Heimler (a pupil of Schenker. Weingartner and Alban
Berg). Other notable pianistic influences were Cortot. Backhaus.
Schnabel and other "Golden Age" pianists such as Hoffman.
Lhevinne and de Pachmann. Other musical influences
include Kreisler. Sarasate and Casals. but most especially the
great singers of the Italian Bel Canto such as Tetrazzini.
Destinn. Gluck. Melba and Patti (feuchtwanger 1988:80).
Kathleen Ferrier and Bruno Walter also influenced his musical
approach and thinking. but it was the great musicianship and
humility of the pianist Clara Haskil which had the greatest
influence on his pianism and approach to music as a whole
(Feuchtwanger 1988:82).
