“The finger connects to the key, the hand connects to the hammer, the arm connects to the string, and the shoulder anchored in the torso connects to the sound board of the piano. Investigate each connection with awareness (kinesthetic and acoustical) individually; then combine them in hierarchical symmetry.”—104 • Reciprocal connections « Pianist to Pianist, by Jura Margulis
I often hear in masterclasses a student who is self-consciously being ‘musical’, who is shaping melodies or dovetailing rubatos in a way which sounds both artificial and, ironically, wooden. It is a issue in slow movements especially when there seems to be a fear of doing nothing.
Not that strange if you ask me. For example, the raw materials of music are *air* and time; and where photography captures time by freezing a moment, music happens completely *in* time. The magic when a musician shapes our collective experience of time is far stranger than the simple trick of capturing a moment at the click of a shutter.