Not everyone had the privilege to hear music of G.G Neuhaus, but almost all serious admirers of classical music are familiar with creative work of such artists as S. Richter, Radu Lupu, E. Ghilels, E.Malinin, E. Liberman, V. Krajnev, E. Virsaladze, L. Naumov, V. Derevyanko, A. Lubimov, A.Sloboddyanik, A.Nasedkin, V. Gornostaeva, E. Mogilevsky, E. Ellin, A. Vedernikov, Gerard Fermi, T. Gutman, L. Brumberg, J. Zack, E. Richter. Listed above and others (for example B. Engerer, V. Viardo, A. Nikolsky, A. Gavrilova, I. Zetel, I. Sokolova, M. Lidsky etc.) regardless of personal style and bright individuality all of them may be described as musicians possessing the feeling of the form, phenomenal time operating skill and rhythm, and finally what is most important is concrete, singing sound of piano.

But to what extent we can speak about these features as inner drive of pedagogical miracle of both Neuhauses? What makes this school so different from others that are also known by high demands to their students, deep und erstanding of musical text and outstanding mastery? Let us remind such musicians as A.Korto, R.Levina, A. Goldenveizer.

So what made (and still makes) the school of Neuhauses so special to talented musicians? I think there are few reasons for such specificity.

First of them is highest level of culture (not just only musical) of both the Neuhauses. G.G. Neuhaus used to say “There is no way to create talent but there is a way to create culture, ground where those talents successfully grow”. The 29-th class of Moscow Conservatoire (where both Neuhauses taught) was such a Temple of World Through Centuries Culture on which grow up talents of S.Richter, E. Virsaladze, L. Naumov, V.Kraynev, V. Derevjanko, A.Lubimov and other representatives of Russian Piano School. Studying from Neuhauses these musicians used to come to the 29-th class (and often to teachers’ home) as to kind of “inner emigration”where they can get in touch with non mortal pieces of Rilke, Pasternak, Scryabin, Debussy, Mallarme, VerLen, Kornel, Bodler, Bethoven, Raphael, Leonardo, Bach, Liszt, Pushkin, Rachmaninov, Schweizer, Kant and others. Huge erudition, knowledge, and what is most important Neuhaus’ love and passion for creative work of great philosophers, artists, architects, scientists served as a starting point for real interpretation of composers’ legacies. It is difficult to imagine music of Bach, Liszt, Scryabin apart from their philosophical and religious thoughts. Same way it is impossible to have even minor understanding of music of Debussy with not to be familiar with pictures of great French impressionism artists. Same may be said of Bethoven sonatas and their counterpart in great pieces of Shiller and Gete. The Neuhauses’ method was not just giving out information about geniuses mentioned here but rather to share their passion to history of world culture, art, poetry, philosophy – everything that Art consists of.

Second reason for popularity (and effectiveness) of Neuhaus’ school may be explained by their being not just Teachers but Friends of their students. Students loved to visit the private Moscow apartment and later Peredelkino house in Moscow suburb even more than Conseratoire classes. Students shared with Teachers as with pastors and priests their problems, happiness and sorrow. They new that in this house they will be not just understood and comforted but will become part of family and thus their problems will become real problems of their teachers. The Neuhauses proved by their life the fundamental principal of pedagogy that is first – Man, second – Artist, third – Musician, fourth – Pianist (the last word taken apart from three first was usually used as almost curse regardless of the technique achieved by student). S. Neuhaus once said “good pianist has to be egoist” meaning that pianist has to be unlimitedly faithful to his work. But in reality he denied his own saying by the means of his own life showing sacrificial love towards his students. I believe it is most important feature of Neuhaus’ pedagogy that was inherited by his students and followers. In my own life I have experienced such quantity (and quality!) of friendship and love while visiting classes of Naumov, Richter, Ellin, Derevyanko, such involvement and will to help in “no solution” problems, that desire to play from better to perfect appeared with no external pressure, just simply and naturally.

Third distinctive feature of Neuhaus’ pedagogy was revealed in relationships with people considered being their friends and students. Among these names I can mention M. Yudina and V. Sofronitzky, daughters of A.Scrjabin – E.A. and M.A. Scrjabin, philosopher V.Asmus, literature critic N. Vilmont, art critic A. Gabrichevsky and of course B. Pasternak. It is from those people that Neuahus’ students learned main thing in art – goodness. If there is no goodness and love in art there is no art at all and word “culture” just loses its original sense. Many of these people being in their time the conscience of age now are forgotten as well as their creative legacy. Just a few people (with exception of narrow circle of professionals) know of musical experiments of B. Pasternak, or are familiar with piano pieces of F. Blumenfeld (uncle of G.G. Neuhaus). Even the name of the second cousin of G.Neuhaus the great Polish violin player K.Shimanovsky is mainly known to Polish people.