Testimonials

Aaron Berkowitz, M.D., Ph.D

When musicians are injured, they are often offered strategies for recovery that include physical therapy, treatment of pain, and reduction in continuous time practicing.  While these approaches can aid in recovery from injury, they do not address the root causes of musicians' injuries: deep-seated technical and postural habits that lead to maladaptive playing patterns that can cause muscular strain or neurological injury. The Taubman approach is a comprehensive method that precisely addresses these root causes of injury, leading not only to recovery, but to prevention of further injury.  The student eliminates old 'bad habits' through a practical...


And this from a 75 year-old enthusiast!

Dear Mr. Durso,

A bit ago I stumbled on Josh Wright's piano videos on YouTube...and thanks to him - and to your generosity - I've just watched the hour-long video in which you presented the key elements of the Taubman technique. 

Your deep understanding and your well-thought-out examples and demonstrations made the theory come to life in a way that is both simple and do-able.  I could hardly wait for the video to end - but only because I was so eager to fly to the piano and try to...


Sadie Danforth-Brightman

Bob, Thank you so much for a fabulous workshop. I always learn so much from you, and so appreciate your generosity. So many meaningful moments. I absolutely love op. 118 no. 2, and your presentation in that space transported us to another world. Thank you! Sadie

Golandsky Institute Boston Workshop June 22-23, 2019


Yegor Shevtsov

I am a working pianist, and I owe that honor in no small measure to Edna’s precise, encouraging and constructive teaching. Both she and her wonderful colleagues at the Institute are an incredible resource to pianists of all levels, from beginner students to those wishing to recover from injury to those who simply look to be better pianists, better musicians. I came to Edna to get help with very practical and concrete problems: I needed to perform some pieces that I could not play well. Over the years, I have brought to her Chopin and Scriabin Etudes...


Jeffrey Sabo

I began taking piano lessons at a very young age, but after losing interest during my middle school years, I stopped them for a while and focus on the viola. In high school, I decided to start playing piano seriously again, and I applied to colleges to study composition. I went to Ithaca College as a composition major, and shortly after starting there, I successfully auditioned to add a piano concentration. About halfway through my degree, I realized that I enjoyed playing piano so much that I quickly added a theory major, which would allow me to continue taking...


Jarred Dunn

In search of technical logic and freedom after years of misguided piano training leading to injury, Dorothy Taubman’s answers saved me from becoming a statistic. Taubman’s insights allowed me to identify movements which were, remarkably, invisible to the eye and yet extremely painful. Thankfully the story did not end after just a few fortunate lessons. Were it not for the continuing reinforcement of this knowledge and technique through lessons with Edna Golandsky and the Golandsky Institute Professional Training Program, the potential in my playing and teaching would never have been realized. It is a marvel...


Hugo Bermudez Ledesma

My problems at the piano started when I was about 16 years old in 2012.  I could play fairly well; my teachers said I was very musical and talented.  However, I had one thing that really bothered me, and that was not being able to get a big sound, among other technical limitations that I had.  I was told that one of the problems was that my arms and shoulders were not relaxed and that my finger knuckles were collapsed (I now know that there was much more to that).  The last statement was true, however, the...


Ygal Sebban

Music has always played a profound role in Ygal Sebban's life ever since he listened to a recording of the Mozart K. 475 Fantasy Sonata as a young child. The experience was transformative, opening up a world of beauty and healing to him that exists beyond words. Pursuing a career as an economist and financier has enabled Ygal to maintain his lifelong love of music. Ygal has studied with highly regarded teachers, most notably Tal Swarc in Tel Aviv who also introduced him to the Feldenkrais approach with its focus on movement with minimum effort and maximum efficiency. Tal...


Antonin Boinay

First of all, I would like to thank Edna for her kindness and her support during the year I spent in New York (from 2014 to 2015).  I would also like the thank her for her deep understanding of the Taubman work and her capacity to guide me through the learning process.

My name is Antonin, I'm 25 years old and I'm from a small town in the french part of Switzerland called La Chaux-de-Fonds.  I began to play the piano at the age of 5.  In 2009, right after high school, I decided that I wanted...


Art Bailey

Dear Edna,

I can’t thank you enough for your patience and guidance, and for this incredible work you’ve developed.  Without any exaggeration, your work has saved my career.  There are few things in this world I love more than making music on the piano, and just before finding out about you, I had resigned myself to giving it up and finding something else to do with my life.  It’s an invaluable gift to know that I can continue playing.  Thank you.

Art Bailey jazz pianist<...


Sylvie Courvoisier

I have had the good fortune of working with Edna Golandsky since 2002.  She has given me all the tools to solve any pianistic issues.  Because of Edna and the Taubman Approach, my sound and technique have developed beyond what I could ever imagine.  She is a great communicator with a deep concern and interest in her students.  Now I can play in a way I could not have imagined with no pain and a wonderful sound.  She is the best!  


Kat Sherrell

I started studying with a student of Edna's and then Edna soon after I first started playing rehearsals for a Broadway show, my first true professional-level gig. The score was notoriously challenging, and I was having trouble learning the music fast enough and playing consistently (sometimes I played brilliantly, sometimes not, and I never felt like I could predict or control what was going to come out under pressure). Also, I was suffering from nerves, and felt the kind of fatigue I was afraid would lead to injury, as well as some pain in my thumbs and fifth...