There’s an ingredient in a violinist’s playing that is necessary for full expression of musical ideas as well as successful technical movements. Completing a vibrato and not flinching during a spiccato depend on this quality. Heifetz, Milstein, and Oistrakh were bursting at the seams with it. The act of will that can produce a highly focused, personal sound comes from throwing off restraints which can cloud one’s judgement.
The name of this quality is "lack of self-consciousness," the ability to rise above the nagging doubts that abound with being human.
When playing a mistake machine such as the violin, it’s gratifying to know how confidence and letting go can keep many of the mistakes from happening. Of course, confidence comes and goes, even with the greatest artists. Actually, there’s one ability that is even more important than having confidence, and that is manufacturing it if it’s waning.
In those moments when self-doubt has replaced thinking and instinct, it’s good to remember how Fritz Kreisler described his own playing. “I believe that everything is in the brain. You think of a passage and you know exactly how you want it. It is like aiming a pistol. You take aim, you cock the pistol, you put your finger on the trigger. A slight pressure of the finger and the shot is fired.”
Self-consciousness would not belong in such a process because it causes too much confusion. If you dwell on some insignificant imperative imposed by yourself or by a teacher, you can lose sight of the big picture. To be ready for rollercoaster-type dynamics or phrases that turn on a dime, you can’t afford to be self-conscious.
Letting Go of Restraints and Inhibitions
The issue of how much a violinist can ramp up and maximize his efforts came up when I recently watched the Ariel Quartet during their Hanukkah program. As any great string quartet demonstrates, there is a collective energy that can only be hinted at when an individual is practicing alone. To get yourself ready for whatever the conductor or quartet leader throws at you, use your practice time to run the gamut of possible musical plays. Be impulsive and bold, since that is the best way to switch gears and try out a new shape for a phrase.
Being Strong Enough to Withstand Change
Attempting too many changes can have adverse side effects, however. The huge sound you can develop when using the whole bow, or the gorgeous slide you play in Kreisler pieces might get a stern look from the conductor. Fortunately, the modus operandi of the orchestra makes itself felt loud and clear. When you’re gaining confidence with your new technique and greater palette of colors in your ear, make sure you’re also observing the orchestra and listening like a hawk.
Music makes us both passive and aggressive. Copying what we hear, and sounding like we’re independent, is inherent in every ensemble we play in. Balancing the scale of louds and softs, and faster and slower tempos, makes a well-rounded musician.
Certainly, a violinist will feel like he’s making the most progress when his tone gets richer and his vibrato fuller. However, the ultimate progress comes from learning how to decipher the prevalent sounds in the ensemble and identify all the parts. The softest and slowest passages are the most challenging. Since just one note carries the DNA of the phrase, take pleasure in making it rich and meaningful.
Nothing is Lost When You Try Something New
You’re more likely to rid yourself of self-consciousness if you know your playing won’t unravel. When you’re ready to try a new sound or dynamic, it can be a little nerve-racking. This is especially true when you’re playing by yourself with no ensemble to provide a solid structure. However, your playing is such a reflection of yourself that any change will only slightly imprint on your basic identity. Remembering who you are, and what you feel, gives you the confidence to try anything your knowledge and experience allow. After all, the only thing more important than your ear is your imagination.
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