In my journey as a piano student, which is still far from over, contact with the Russian piano school came rather recently. Nevertheless, it represented a real revolution in my way of understanding and approaching the instrument. The emphasis that the teachers of this school place on relaxation and naturalness of movement, always adhering to the human anatomy, has opened up new technical and musical horizons. 

The process of learning the basics of the Russian school led me to question myself from a twofold point of view: on the one hand, I posed the problem of acquiring a precise working method, a real technical routine to be applied to all musical passages requiring similar solutions. On the other, that of making these principles accessible also to a beginner, as the very recent experience gained as a teacher posed the problem of providing students with an effective working method and making them autonomous in their study. Moreover, it constitutes proof of the effectiveness of the principles I developed for myself.

The result of this research was, with regard to the first point, the application of these principles to the study and subsequent performance in concert (Exam concert) of P. I. Tchaikovsky's Trio for piano, violin and cello op. 50; with regard to the second point, the formulation of principles and exercises that can be used independently by me and my students, which constitutes the central corpus of this work.