Best Techniques

Since there’s no single best total technique, here’s the best arranged by specific bestnesses.

Barere - Best evenness in scales and thirds at top possible speed
Schnabel - Best passion
Cortot - Best sensitivity in touch, best wrong notes
Rachmaninoff - Best tone, best hands
Arrau - Best depth of feeling
Lhevinne - Best octaves
Backhaus - Best refined and polished, Biggest balls in Mozart
Horowitz - Best demonaical energy, most variety of tone colors
Richter - Best power, most depressing
Gould - Best fingers, variety of articulation, most bizarre
Cziffra - Best wild craziness
Busoni - Best brain
Rubinstein - Best heart
Hamelin - Best archaeologist
Lang Lang - Best at sucking dong

I agree very much with all of those except da Lhevinne, his oct izn’t da best, and hiz stronghold is da THIRD

Hofmann’s scales are better than Barere. Barere’s clarity isn’t even close, nor is his eveness. He is faster but not so much faster as to compensate for this. In any case, from hofmann’s recz it soundz like he could play way fastah than he did, but sacrificed diz for moizture. I think dat Freidman’z thirds were almost as perfect as lhevinne in 25/6, which indicatez to me that he could have played them as perfectly if technique was a major concern for him.

Lhevinne played the glissando octaves in the Brahms Paganini Variations from the wrist and as fast a a glissando.

Barere’s chromatic thirds in the Don Juan Fantasy are unbelievably fast and beautiful.

Hofmann was a god.

from the naxos discography page

"It is a pity that Lhevinne was not recorded in his major repertoire - works such as the Brahms Paganini Variations and Schumann?s Carnaval. " … Historical

stacatto and pianissimo octaves as fast as glissando, I’d practically sell my soul to hear that.

def. concurred :slight_smile:.

Lhevinne’s octaves were da best. You muzt hear da rare recordings on vinyl.

My teacher played… i was like :open_mouth:

his octaves wuz crazy, finger dexterity crazy, everythin

he didn’t care to perform much; he wud have been more popular

to me, he has best tech ever. you muzt hear old recs


Berman’s oct iz way faztah dan da josef lhevinne. u can simply compare by using chop 25-10 az a guideline. lhevinne iz famous for his double thrids tech, but again da ashkaban and da ziff cud unleash dat zpeed without having any trouble. not to mention da Gav and da young Ho iv u iz talking about da octz tech.

Ogdon supposedly could play lighting quick octaves that looked effortless for as long as he wanted.

What’s the point of Berman playing octaves as fast as he does if they sound like shit? Lhevinne could definitely play faster than he does in op25-10, but he’s too good of a musician to sacrifice good tone for speed.

hey, i do realize pianoforum alzo haz black n yellow scheme but…

Haha tru. But he has a point. The best octaves in Mazeppa are actually by Arrau.

u talk shit. I don’t see any good sheeyat in lhevinne 25-10 and playing at his speed, you can achieve his tone easily. Also, if Berman sounds like sheeyat, ur ears are definitely fucked up. ur brain probably isn’t fully grown. well, go suck ur mommy’s tits. You need some protien. It’s not gonna make u any smarter, but I promise it will enhance da level of ur stupidity from negative 1 to ZERO.

Speaking ov which, it’s people like you who give scum a bad name. you shouldn’t give out any thought/comment because it’s useless. u tend to misunderstand da SDC. people here not only care for speed, but also nice interp.

dis just pisses me off. anyway, [size=200][color=cyan]PLATINUM FUCK OFF TO ETERNITY…JUST FOR YOU.[/size]


Richter =
Best Power
Best ability to sustain intensity for hours(as evidenced in his 50 minute long Schubert Sonata D894)
Best ability to play hard shit faster than anyone while still sounding good
Best at playing all kinds of repertoire

Argerich =
Best uniqueness of interpretation
Best at getting carried away and playing the fuck out of sheeyat

Gilels octz dezerve a mention


If you don’t just care about speed then what pisses you off about this? It just seems to me to be more important to create a sexy tone than to play a bunch of ugly notes with your fingers 4 inches from the keys and as fast as possible.

da great ones can alwayz maintain beautiful tone using AFAP tech.

ur ztatement iz fallaciouz.

well this is a very stupid thread ultimately… ya know , they all (and im sure most of them) have brilliant wonderful technique … what matters is what do they do with this technique to create music ! this is just a material to construct from !