Review: Lister-Sink: Caged Bird video

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Alexander Technique Review 8.22.20

Reviews

Barbara Lister-Sink

Freeing the Caged Bird
- Developing Well-Coordinated, Injury-Preventive Piano Technique

150 minutes, PAL, NTSC, DVD, Video, Wingsound, 1996.

In print: freeingthecagedbird

Mouritz description

In the Introduction (13 mins) Lister-Sink relates how tendonitis prevented her from developing as a pianist and concludes that the hallmarks of well co-ordinated piano technique are optimal skeletal alignment and efficient muscle use. Part 1 (23 mins) explores the mechanisms of the piano and the body. Gleena Batson demonstrates principles from the Technique (though incomplete and not mentioned by name). Part 2 (37 mins) demonstrates exercises for good co-ordination and relaxation – mainly stretching and “tense-relax” exercises. The basic stroke consists of 4 components and each component is rehearsed before adding another. Part 3 (24 mins) shows how to apply the good co-ordination to musical repertoire. Part 4 (24 mins) covers the practice of fragments, gradually building up to phrase. Close-up, slow motion analysis and many playing examples at all levels are presented throughout.

Review by Malcolm Williamson

First published in STATNews, vol. 4 no. 20, January 1998.

Lister-Sink clearly defines piano technique from a neuromuscular and biomechanical view point as the most efficient, natural coordination of the whole body at the piano. She addresses the hallmarks of good coordination - optimal skeletal alignment and efficient muscle use - and demonstrates how well-co-ordinated technique frees the pianist’s artistry from the cage of physical obstacles.

Contents: Exploration of Piano & Body Mechanism; A step-by-step Training Program, Potentially Harmful Technique Habits, Numerous Playing Examples on all Levels; Close-up, slow motion analysis; A systematic Approach to virtuoso playing; How not to accumulate tension. (Approx. 150 minutes.)

This extremely well-produced video provides a wealth of teaching material for pianists covering a wide range of repertoire beautifully played by Lister-Sink and her students. The secret to seemingly effortless playing is to avoid accumulating tension whilst playing. One should actually feel better after hours of practising, rather than tired and aching.

Barbara Lister-Sink is an acclaimed soloist and chamber musician who was keyboardist for the Amsterdam Concertgebouw Orchestra and is currently Artist-in Residence at Salem College, Winston-Salem, NC, where this video is produced.

Good piano technique means good physical co-ordination. There are reminders both visually and through the commentary to “view the whole body as an interdependent unit and understand how all the parts work best together. . . with mindful continuous awareness of how the body feels.” Despite this, many of the later camera shots focus exclusively on hands and arms.

In a rather too brief section, Glenna Batson (instructor in functional anatomy and movement science and, though not mentioned, Alexander teacher) explains how physical efficiency requires optimal skeletal alignment (to access the central support of the spine and “lever” action of the torso and arms) and efficient use of muscles.

The piano is a percussive instrument. “The moment the fingers contact the key bed the weight of falling should be transferred back into the torso leaving just enough weight to keep the key down. Just a few ounces. It’s sort of like a falling brick transforming itself into a ping pong ball on contact,” explains Lister-Sink. The basic [key] “stroke” remains the same at all levels of technical complexity. This is analysed into its simplest component parts, each mastered separately and then integrated into one well-timed motion film footage of Artur Rubenstein is shown in the excellent 40 minute introduction as the ultimate exponent. Even when (apparently) motionless, “everything flows internally.”

Sensory re-education is addressed “hands-on” (by the piano teacher). Lister-Sink is superb both as a player and her ability to demonstrate the common technical faults of pianists. Slow motion and image merging techniques show clearly how balance and freedom can be lost but consciously regained. Though this is not an Alexander Technique video as such, the ideas are for the most part completely in keeping with its principles and application. How the essential “means-whereby” are actually acquired and employed is not really explained but then, this is where practical lessons are absolutely necessary. The video provides an impressive study guide for any pianist with the usual caveat to be viewed in conjunction with taking Alexander lessons.

At the time of going to press, I do not know the price but, considering the wealth of material and excellent performances from Lister-Sink and her students, it is sure to be worth every penny.