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Making music is a quite complex process in which mental, physical and emotional skills should be matched together. A less optimal playing tends to cause dissatisfaction or even physical discomfort. Awareness of the coherences prevents damages and helps to reach the desired musical goals.

In this respect the pedagogy of Alexander Truslit inspired me a lot. His ideas are based on the reflections of the pianist Elisabeth Caland and concern the oneness of physical motion perception (kinaesthesia) and musical structure and result in a optimal, smooth and musical manner of playing.

My own playing and teaching is influenced by my reflections about this topics. At the moment I am preparing to release a book about this. I am looking forward to any discussions.
For the beginning I can recommend the following books:

• Elisabeth Caland: Die Deppe´sche Lehre des Klavierspiels, Wilhelmshaven 2004.
• Sergiu Celibidache: Über musikalische Phänomenologie, München 2001.
• Louis Landuyt: Vom Singen und der Kunst der Lebendigkeit, Frankfurt 2005.
• Elgin Roth: Klavierspiel und Körperbewußtsein, Augsburg 2001.
• Alexander Truslit: Gestaltung und Bewegung in der Musik, Berlin 1938.

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