In a sense, I was very lucky, in that I never had an injury serious enough to cause me to stop playing piano. But I did have occasional pain, and could not play a recital program without experiencing serious fatigue. After over a year of weekly lessons with Edna Golandsky, playing no longer feels like a physically arduous task, and playing concerts feels much more secure – I rarely worry that my technique will ‘fail me’ unexpectedly. When I encounter technical problems in music, I am able to solve them with a logical, analytical approach, rather than trying to overcome them through brute force, and I assume that if a passage does not feel or sound as I would like, it is a problem of fingering, or physical movement, and not simply a question of not enough practice. But that mindset alone would only lead to frustration without the Taubman approach’s thorough and ordered set of tools.
What is most amazing about Ms. Golandsky’s expertise is the speed with which she can identify problems. I will always remember playing a piece in a masterclass for a teacher who wanted a certain octave passage to sound more legato, and after 20-30 minutes of work, the passage still did not sound consistently convincing. When I showed the passage to Ms. Golandsky, she was able to solve the problem in just a couple of minutes.
The Taubman approach is the only unified system of playing piano that I know of that is able to connect physical motion, rhythmic structure, sound production, and interpretation, in a way that shows that all of those elements are interrelated and able to be accomplished with a sense of physical ease. It has, without a doubt, made me a better performer, teacher, and all around musician.