As I prepared to pen the antidote to the poisonous Myth that "Strength = Volume," I was leafing again through the incomparable "On Piano Playing" (one of my top books on
"The Compleat Pianist Bookshelf"), wherein I found one of the clearest statements of fact regarding the misuse of weight/strength in playing fortissimos. This is likely where I encountered the powerful thought years ago, and I doubt I would have said it better, so here speaks Sandor:

"Weight alone is also of little use, unless it is set in motion. Even if a ton of weight is applied to the key, it does not produce a sound unless it moves downward with a certain speed. It is speed that generates sound, not weight; therefore, let us use as little weight as possible when generating speed. Muscular force is of use only in generating speed in the hammers, not as energy spent statically. The simultaneous and extended activation of an antagonistic set of muscles (for example, the flexors and extensors of the forearm or the biceps and triceps of the upper arm) is unproductive, and in spite of a vigorous feeling of energy and tension in the arm, it is totally superfluous and therefore should be avoided. All it causes is immobility and stiffness, which ultimately result in a poor sound." (From "On Piano Playing: Motion, Sound and Expression" -
Gyorgy Sandor)

In masterclasses and workshops, I have compellingly demonstrated the uselessness of raw "weight" by slowly lowering my entire body onto the keyboard (upon my knees)...producing the faintest gasp of a sound if any! I do similarly with a slow, piston-like muscular action from the shoulders down through the palms. Then, to contrast, I do a light - almost delicate, but quick! - leveraged thrust onto the keyboard with the "weakest finger" (5th), producing a piercing sforzando.

Applying pages 5-9 alone of this wonderful book would save many pianists so much trouble throughout their lives...worth far more than the price of the whole book. Of even more value to the developing pianist is Sandor's careful expansion on these thoughts elsewhere and the beauties to be enjoyed from Sandor's insight and exquisite expressions of fundamental truths - on both technique and artistry, and especially their interrelation. Among its kind, there is no other book of its caliber!

P.S. There is, however, one fact not immediately addressed by Sandor in this section of
his book (p. 8 of 1st edition, © 1995) - the matter of developing "resistance strength" (neurological if not physical) due to "every action having an equal and opposite reaction." I explore this with my students in my advanced piano instruction and apprenticeship course. For information on securing instruction from an artist who believes in mastering the whole of technique, craft, creativity and artistry, contact
Barry Sindlinger.