What's The Difference Between Allen's And The Chopin Methode

I came across a method called Piano Method after Chopin & Neuhaus. How is this different from The craft of Piano Playing?

I haven't come across that method, although I have read extensively on both Chopin and Neuhaus and have heard personal accounts from people who watched Neuhaus teach. The book on Chopin by Eidlinger is very imformative, a gold mine of information about his playing and teaching, and Neuhaus's book The Art of Piano Playing is of course one of my bibles. My approach differs from theirs in that I have analyzed the underlying functions of the neuromotor skeletal system of the human body, to come to a new way of understanding and describing the process of playing piano well. The reason I was motivated to do this was that I noticed that, although we have all this wonderful information available about how to play great, very few pianists actually achieve it. Most of us fall far short of the potential of the instrument, and I was interested to find out why. It's not because we haven't read about it, but rather our limited understanding of what we read. Many of us have been trained in one of the many great traditions of piano pedagogy, and yet, if a tradition isn't continually refreshed, its transmission tends to become mechanical and thus lose its essence. Also I noticed that Horowitz going on in his teaching? What really gave him such great results?' Thus it was that I made a commitment in 1988 to do a professional Feldenkrais Training in order to deepen my understanding of human neuromotor function and to develop a new approach to piano technique. Interestingly enough, I made the commitment when I didn't have a clue what the end result might look like! But it is said that when you are truly committed, the Universe aligns itself to your commitment. So perhaps it wasn't entirely coincidence, but rather a sort of synchronicity that brought me to my meeting, a scant 6 months after making that commitment, with Kemal Gekich, who physically manifested all those qualities of piano technique that I had been searching for. So, in summary, my approach differs from the one you mention NOT in that I in any way go against those great traditions. Rather I aspire to empower students to the great principles of those traditions and seek new ways to achieve that empowerment. Thus 1) I began my investigation of neuromotor function as related to piano technique with my teacher in Montreal, Phil Cohen (who is an instinctive 'Feldenkrais' person although he never did a training), 2) I studied Feldenkrais Method, and 3) I began my long-standing collaboration with Kemal Gekich, who is one of the outstanding piano virutosi on the concert stage today. All of these led me to what I call 'Skeletal-Based' piano technique. There is a magnificent potency inherent in the structure of our skeleton, waiting to be tapped. All we need is the key to unlock that potency and make it manifest in our playing, in our sound and in our emotional expression. It is by this return to a sense of Self in the most pragmatic terms that I seek to advance the art of piano playing.