Leschetizky emphasised that he did not have a method but he did approve the manual by
his studio assistant Malwine Bree entitled ‘The Groundwork of the Leschetizky Method’.
Leschetizky never taught beginners so that when he said he did not have a method he
meant a method for pianists who are already highly skilled pianists. Malwine Bree’s
manual dealt with basic exercises for pupils not yet at a technical level to be accepted by
Leschetizky himself.
The similarities in the way of playing among his pupils, in terms of technique not
interpretation, indicate that Leschetizki had a basic method of playing the piano. Bree’s
manual did not deal with interpretation for which Leschetizky refused to have a system.
Paderewski said: ‘There are principles, you will agree, that are to be uniformly
inculcated in every pupil – that is breadth, softness of touch and precision of rhythm. For
the rest, every individual is treated according to his talent.’
One of the things most Leschetizky’s pupils had in common was their position at the
piano. They sat rather straight on the piano stool and did not make any inessential
movements. Leschetizky explained the right position at the piano with the analogy of a
horseman. A horseman sits unconstrained and erect on his horse and as the horseman
yields to the movement of his steed so the pianist should yield to the movements of his
arms as far as necessary. Leschetizky did not approve of posing, such as leaning back to
show that one is inspired. Nor did he approve of carelessness at the piano.
Leschetizky’s pupil Moiseiwitsch could play the most expressive cantabile or the most
exuberant bravura with the same facial expression and very little movement. Leschetizky
compared muscular relaxation in piano playing with the deep breathing of a singer.
Another characteristic in the playing of Leschetizky’s pupils was their beautiful tone. He
was always looking for the purest and most beautiful tone and believed that a good sound
is made by the brain not the hands. He always emphasised the deepest concentration
during practice. He suggested that one should stop after a few bars and consider if one
had played what one really wanted. Only if the right sound sound and interpretation had
been achieved should one go on. Leschetizky also said that ‘listening to the inward
singing of a phrase was of far more value than playing it a dozen times’ and that ‘the best
study could be done away from the piano.’
Moiseiwitsch said that Leschetizky never taught pupils the same piece in the same way.
Fannie Bloomfield-Zeissler said that ‘he studied the individuality of each pupil and
taught him according to that individuality. It may be that this individual treatment of
each of his pupils was his actual method and what made him so successful as a teacher.
Paderewski on Leschetizky
Just before he left for Canada to begin a concert tour, yesterday afternoon, Paderewski
granted [November 1915] one of his rare interviews to a reporter of The New York
Times, who talked with him about the career of Theodor Leschetizky, the famous piano