L'Art du Chant appliqué au Piano
The prestigious tradition of the Neapolitan Piano School originates from the figure of Sigismund Thalberg, whose influence shaped a unique artistic and pedagogical legacy.
As a direct recipient of these teachings through eminent masters, I carry forward this heritage, continuing the development of a pianistic and educational tradition that was founded in Naples and has since inspired generations of musicians.
During my formative years, I studied under Maestro Carlo Alessandro Lapegna, student and assistant of the renowned Vincenzo Vitale.
From him I inherited the principles of the Thalberg Piano School, founded upon the method L’Art du Chant appliqué au piano, written by Sigismund Thalberg himself.
This work, a collection of 25 transcriptions, aimed to cultivate in young pianists a refined, singing tone and a fluid, expressive touch. Its true value, however, lies not only in the music but in Thalberg’s introductory essay, where he presents his famous “Twelve General Rules for Singing Well at the Piano.”
Thalberg affirms that the art of singing must transcend the instrument’s mechanical limits, demanding from the pianist the ability to “subjugate the mechanism” to the higher requirements of musical expression.
His vision does not imply a mere imitation of the human voice, but rather the creation of an illusion—a search for nuances and expressive colors inherent to the piano.
The ultimate goal is clear: to know the instrument in depth and, through mastery and artistry, to expand its expressive power, enabling the piano to sing with the same intensity, sustain, and emotional resonance as the human voice.
THE SCIENCE OF PIANO TECHNIQUE
THE RELATIONSHIP BETWEEN ANATOMY OF THE HAND, TONE PRODUCTION, AND MUSICAL GOALS
Subsequently, I refined my training through masterclasses with distinguished representatives of this tradition, including Maestros Laura De Fusco, Francesco Nicolosi, Aldo Ciccolini, and Sandro De Palma. For years I pursued a personal artistic identity, exploring and experimenting until I integrated new technical and scientific dimensions into my teaching. This research led me to develop what I define as The Science of Piano Technique.
In my lessons, every problematic passage is approached from three perspectives: musical, compositional, and technical. The hallmark of this school lies in its deep connection between anatomical awareness of the hand, redistribution strategies, sound production, and musical expression.
Having personally faced focal dystonia, I was compelled to reprogram my brain and rediscover movement through the principles of this great pianistic tradition, rooted in muscular coordination. This experience enabled me to make new discoveries and shape my own methodology, which I describe as a modern continuation of the Neapolitan Piano School—an approach that now informs both my artistic career and the formation of new generations of pianists.
Among the most renowned pianists shaped by the Neapolitan Piano School are Martha Argerich, Bruno Gelber, Enrique Barenboim, Riccardo Muti, Sergio Fiorentino, Aldo Ciccolini, Paolo Spagnolo and Arturo Benedetti Michelangeli.
Physiology of music perception
The perception of music unfolds in three stages. First comes the elementary perception of sound—the auditory stimulus itself. The second stage involves the structural analysis of music, ranging from basic parameters such as pitch, rhythm, intensity, duration, and timbre, to more advanced aspects such as phrasing, timing, and thematic development. The third stage is the recognition and identification of the work being performed.
Each of these functions activates different cortical centers. For this reason, students of my methodology discover that its benefits extend far beyond piano playing. Since it is rooted in human physiology and the natural laws of movement, the approach can be applied to solving technical challenges in Liszt, to playing another instrument, or even to activities of daily life such as driving.
Ultimately, this path leads to greater self-awareness. As one of my students expressed: “Before I encountered Devastato’s methodology, everything was about pushing and efforting. Now it is about letting things flow and getting out of my own way. I have learned that I don’t need to construct an artifice of myself—my true self is more than enough.”
Physiology of the limb: arm, forearm, hand, and tendons in charge of the realization of the piano mechanism
The pedagogical legacy of the Neapolitan Piano School remains vibrantly alive. Across generations, students have received the same meticulous guidance on the step-by-step muscular process required to produce the sound that best serves a musical intention.
This principle defines my approach to teaching, technique, and artistic goals. In one of my masterclasses, I summarized it with a guiding question: “How can a young pianist work to master piano sound and achieve a truly singing tone?”
Natural gifts such as musicality, a refined ear, and a genuine love for music are, of course, essential. Yet beyond innate talent, the decisive factor is the ability to coordinate with precision the movements that shape piano tone production.
To create a beautiful sound, one must first learn to hear it, then to control it—because sound should never be left to instinct or momentary inspiration. A wide tonal palette depends on knowing the different ways of producing sound, each connected to specific muscle groups. This relationship between movement and sound is, in my view, the most vital message to transmit—not only to my students, but to future generations of pianists.
