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Kemal Gekic And Taubman? Comment On Taubman??

10 years ago by
A Pianist
Just found out Taubman institute is selling a CD played by Kemal Gekic. With a google search he actually had played in their seminar or what.... Does Kemal Gekic has anything to do with Taubman's method? If he's indeed inspiring Taubman's method, I might have more faith in the method. I'm thinking about buying Taubman's DVD set which is unreasonably expensive, especially when compared with Alan's DVD. The whole set could actually allow me to have about 7-8 hours of lessons with some of the top pianists in Hong Kong. (which I stopped because my technique cannot cope out with the musical content I grasp from my teacher and I decided to improve my technique before wasting more money) So I would like to know how far reaching the method is before buying it. By the way, if Kemal Gekic is more out-spoken about his adventure on his techniques (and if he's good at expressing it in words, which may be an even rarer gift!!), it would be great for al of us. Alvin
10 years ago by
A Pianist
Kemal Gekic played recitals for several years running at the Summer Taubmann Institute in Williamstown, but he has never had a lesson with Dorothy Taubmann, Edna Golandsky or any other Taubmann proponent. His teaching originates in a completely different tradition, and he was there only as an honoured guest artist and colleague. As for the Taubmann tapes, viewing them was an important step for me in clarifying my own ideas (see Aphorisms at alanfraser.net). I strongly object to a piano method whose main aim is to avoid injury. This can be severely limiting and misleading. On the plus side, although I disagree quite strongly with some of Dorothy's ideas, I have seen pianists trained in her method who played really admirably and whose ability clearly stemmed in part from their training. I hold Dorothy in high regard as a pioneer who forced us to think about these matters and who helped many a great deal. And Edna Golandsky is a fine pianist and pedagogue, who, in my opinion, is at her best when she frees herself from the Taubmann dogma and brings her own not inconsiderable musical and technical skills and understanding to bear in her work.