I have worked a lot with amateur chamber musicians and with beginning piano students, two populations that are responsive to their feelings as they play because unprotected by technique that usually covers up every possible non sequitur,  every trace of vulnerability.  
If more professionals noticed how it feels as they play audiences would be drawn into the music rather than simply dazzled by virtuosity for its own sake, by perfection on parade.
As a young student I was advised to go hear Mieczyslav Horszowski though warned that I would not like his playing.  To this day, more than 50 years later, I recall my astonishment.  The sound held my full attention; interpretation seemed irrelevant.
 


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