Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
had already revolutionized pianotechnique by shedding the brilliant style of Hummel and his teacher Czerny in favor of virtuosos like Paganini and Thalberg. By the early 1840s, he had harnessed the piano's physical and expressive resources to create