May 19, 2005 at 9:07 PM

Today I had a lesson with Nam Yun Kim on Mozart 4th Concerto. It was very interesting. Two years ago I performed it with the Juilliard Symphony together with Carlos Kalmar. I remember being in somewhat of an inner fight about interpretation. Kalmar was very "authentic" in the way he approached the concerto (I remember the orchestra holding its bow a little bit higher in the mozart symphony and stuff like that) whereas, I had prepared the concerto mainly with Mr. Perlman and therefor it was quite "romantic". For the Queen Elisabeth Competition I decided I would throw everything overboard and just play it the way I feel, which has become somewhat a compromise between styles.
After I played through the first movement Miss Kim started to tell the audience and me, she had studied this at Juilliard and when she came to Europe and played it for a violinist from Berlin, she realized there was quite a difference in thinking. Also she decided at some point to just go her own way and play it the way she felt it and the audience liked it. I don't think she realized how on top she was of my struggles, since I experienced exactly the same thing 2 years ago.

Some insights into competiting: as I found out, the jurymembers have, just like in iceskating things where you loose points with. Bending your knees is one of them. With that in mind, I must have been far in the minusses, because I move a lot when I play. Also she commented on my "looking into the audience". I never really conscious look into the audience, I just search for contact. I am not one of those violinist that closes her eyes the entire performance or focus on the fingerboard the entire time. I turn to the pianist, I turn to the audience,a lso with my bodylanguage I communicate. When this body language disturps the sound, ofcourse then it is not a good thing, but after a 3 hour trainride and wondering why bending my knees is such a bad thing, I still don't have an answer. When I play I have different reasons to use "bending my knees". What happens when you bend your knees... you work with gravity. Sometimes I need this gravity to "feel the ground" in order to combat nerves and knees that feel like jellow. But mostly it has to do with sound. When I bend my knees, my sound becomes deeper, richer. It has something to do with the weight you take off your back and the way you then relax muscles in your back. For the curious among you: try this exercise (I got it from a violin teacher in Switzerland several years ago, it changed my entire perception of the sound possibilities in my instrument)

Stand against a wall, preferably with a corner on you left side, so you won't break your bow. Now, bent your knees in a 90 degree angle, as if you were to sit on a chair. If there is somebody who can assist you, ask them to hold their weight agains your knees, that way you can entirely relax your back which is straight against the wall and put all you weight in your upper legs and lower legs. When your alone, obviously you will still keep some tension in your back, but you can still greatly reduce it. Now play an open string, slow bows. Keep your back against that wall, especially watch your upper back and neck and head, everything in contact with that wall, loosing as much tension and weight in it. Listen to your tone as you try to accomplish the "letting go". With me the sound always within 5 minutes magically opens and the fiddle sounds amazing. After the years, I now only have to remind myself or look for that feeling and bending my knees slightly when playing helps me. So, maybe I loose a point in viewing aesthetics, but I am sure I gain some in sound. And by the way, I like my dress a whole lot better than watching gidon Kremer, I must have some "viewing aesthetic points" left over. And if not... well I am a musician and as long as it sounds good, I don't care if I have to stand on my head!

From deborah mitchell
Posted on May 20, 2005 at 6:23 AM

Some of the principal violinists with the SF Orchestra bend their knees and I think it improves their performance. They look more relaxed and comfortable with the music. And they all, without exception, sound great.

From Melanie Buch
Posted on May 20, 2005 at 6:29 AM

Hi Carla! Who gave you this exercise in Switzerland?I got exactly the same from my teacher in Basel, and she always explained me the importance of bending your knees while playing!She also said you have a much deeper sound,which is totally true..

From Carla Leurs
Posted on May 20, 2005 at 4:14 PM

Stefan Muhmenthaler, but he does not teach in Basel anymore, but in Neuchatel now. He is really great, you should check him out. Who was your teacher again?

From Melanie Buch
Posted on May 20, 2005 at 5:06 PM

I was with Adelina Oprean...but in fact, I only took private lessons with her because I didn't want to go through the entire programm of studies again...Stefan Mummenthaler was already gone when I looked for a teacher in Basel...There were just Adelina and Raphael Oleg who interested me!!

From Jim W. Miller
Posted on May 20, 2005 at 9:31 PM

First round should be behind a screen to eleminate that kind of crap.

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May 19, 2005 at 9:07 PM

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