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In conversation with Janet Horvath

March 8, 2024 by Sherry

In conversation with Janet Horvath

Conducted by Anika Barland

Janet Horvath, author of Playing (Less) Hurt: An Injury Prevention Guide for Musicians, Gold-Medal winner of the 2009 IPPY award, joins us for a conversation on how musicians, violists in particular, can rethink their playing habits to stay physically and mentally healthy.


String Player Issues

As the “Olympians of the small muscle groups,” musicians face the highest rate of occupational injury, with string players making up the highest percentage- 84% having at least one injury. The term for many of these injuries is RSI, repetitive stress injury. This comes from our playing and practicing habits, in combination with the effects of day-to-day living.

Horvath finds that much of the RSI problems come from static work- extending your arm out to hold your instrument or bow, tilting your head for prolonged periods, keeping a slight twist of your spine to sit on your chair, reading your music, and playing with expression. These static holds create tension and lead to fatigue. Your muscles wear and tear. You may find yourself waking up in pain or having trouble holding a pencil after a long day of practice.


Fixing it: Step 1

Lucky for us, Janet has tangible fixes we can implement throughout our day to aid in prevention and recovery. Her first fix? Simply to take breaks whenever possible, even if for a second or two. “If I could tell violists one thing, it would be to lower your arm and move it around, uncurl your fingers, lubricate your joints.”

In her book, Janet outlines a series of quick stretches musicians can do, quite discreetly, while onstage. Some quick stretches include:

  • shoulder shrugs.
  • shoulder rolls.
  • turning your head side to side/up and down to stretch your neck.

“We are taught to appear like statues on stage, not to move. However, it is important, for our ability to play with expression, that we take small moments to release our bodies from these static holds.”


Step 2: Good Habits!

In addition to small stretches on-stage, our off-stage habits can aid greatly in how our bodies store this tension. Stretching at home, practicing yoga or Pilates, finding a physical therapist.

These are all great helps. In her book, Janet provides a series of stretches you can do on a foam roller or soft surface. She even provides a series of stretches that can fit into your daily routines, “Can’t find time to stretch? Try these: they feel great in a warm shower!”

 

 


Healthy Heads

Another way to reduce our risk of injury and stay mentally healthy can be accomplished with just our thoughts. Janet warns of pre-performance anxiety, “When we are nervous, our breathing tends to be shallower. Our muscles may not get adequate blood flow and we may start to shake. Our heart rate might increase to the point that cardiac output is diminished, reducing blood flow to the brain.”

While the stresses of performing are multi-faceted and we all have our own worries, it’s known to us all that working through these negative feelings leads to a better performance and a better quality of life. Janet highlights the power of positive thinking, stating “practicing too much before you go onstage leads to overuse of your muscles. It leads to anxious thinking. Instead, visualize the music and how you would like it to sound. Tell yourself that you can play this, it is going to sound great!”

If you’re looking for something more physical, restorative stretches are great before a performance. “Try a child’s pose, do something calming.”


Violists!

For our violists, Janet has one thing on her mind, “Make certain you have a viola that plays well, one that you’re comfortable with. Size really does matter.”

The viola comes in different sizes and measurements. Consider the weight and length of the viola. When the viola is too large, you overextend your muscles trying to hold it up. Your body twists, your neck strains. “Having a well-fitted combination of shoulder and chin rests is very important. Your head should be neutral and upright. Any tilting or cocking will result in long-term damage.”


All in All:

Janet closes out our conversation with her top five rules for a healthier life as a musician.

  1. Warm-up. Taking the time to warm up your muscles will aid in protecting your body and preventing unnecessary strains and tears. “An athlete wouldn’t show up to their match and start playing without a proper warm-up. Why shouldn’t we do the same?”
  2. Take Breaks. Janet recommends a 10-minute break every hour, “Fatigued small muscles experience a 90% recovery in 10 minutes.” Set a reminder on your phone. When practicing in a large group, break whenever you can.
  3. Increase practice load gradually. Janet provides templates on how to gradually increase after taking a break, whether from injury, vacation, or other life circumstances.
  4. Vary repertoire. Give your muscles groups a break and switch out the pieces you’re working on. Janet recommends a different piece every 15 minutes.
  5. Reduce practice intensity before performance. Take some time to relax your mind and body. Practice some stretching or positive thinking. Your body and mind will thank you after your performance and years down the line.

Thank you to Janet Horvath for this valuable conversation. For more information, check out her book Playing (Less) Hurt: An Injury Prevention Guide for Musicians on her website: https://janethorvath.com/books/playing-less-hurt/


Additional links to Publications and Practitioners:

  1. International Musician, Pilates for Musicians https://internationalmusician.org/pilates-for-musicians-great-exercise-for-seated-athletes/
  2. Yoga for the Arts, Yoga for Musicians https://yogaforthearts.com/
  3. Symphonic Blog, Mental Health for Musicians https://blog.symphonic.com/2023/05/08/mental-health-resources-for-musicians/#:~:text=Over%2070%25%20of%20independent%20musicians,toll%20on%20anyone’s%20mental%20health.

 

Filed Under: Players, Viola Month

Joseph Hollman: “A good cellist”

March 2, 2019 by Sherry

Joseph Hollman: “A good cellist” by David Sedlins

This past year Givens Violins’ holiday card featured a print of Joseph Hollman titled “A Good Cellist” from an 1897 edition of Vanity Fair. This title is clearly an understatement. Though Hollman isn’t presently a familiar name within the classical music community, his importance as one of the most celebrated concert cellists of his time must not go overlooked.

Dutch cellist Joseph Corneille Hubert Hollman was born October 16, 1852 in the city of Maastricht. At the age of 14, he was admitted to the Brussels Conservatory, where he studied cello with Adrien-Francois Servais and music composition with Francois-Joseph Fetis and Charles Bosselet. Hollman completed his studies at the Brussels Conservatory at the age of 18 with a first prize. He continued his studies in Paris with Leon Jacquard and then with renowned cellist Karl Davidoff in St. Petersburg. [1]

Early in his professional career, Hollman performed with the orchestra of the Meininger Hoftheater under the direction of Hans von Bulow. In 1887 he settled in Paris as a soloist, where he became one of the most important cellists of his time. Hollman toured extensively throughout Europe, Scandinavia, Russia, America and eventually to China and Japan. [2]

In a review of a London performance in 1888, a listener writes; “Lady Goldsmiid’s beautiful music room has witnessed many interesting musical “events,” this season, but none more noteworthy than the great Dutch violoncellist’s concert…Hollman made his superb Stradivarius sing, and weep, and plead, and coquet, and tell tales of love with a versatility of expression that held his hearers breathless with admiration.” [3]

 

Hollman became acquainted with many  prominent composers of the time, including Jules Massenet, Eduoard Lalo, Eugene Ysaye and most notably Camille Saint-Saens. During his debut in London in 1885, Saint-Saens performed with Hollman as a duo partner and in 1902 dedicated his cello concerto in D minor op. 119 to him. [4] Joseph Hollman was also a composer in his own right, and often performed his own music during concert tours with great acclaim. A reporter of the Newark Evening News recounts the experience of a 1922 performance; “Mr. Hollman drew from his instrument a tone of great purity…It was translucent, like the atmosphere after rain, while his lower notes were like the open diapason of a great organ. They were controlled with the poise of the matured and eloquent artist…Through his compositions as well as his playing, Mr. Hollman appeals to the intelligence and the eye as well as the emotions.” [5]

 

Hollman performed with several cellos throughout his career including a Stradivarius, Guarneri and a Vuillaume that was “considered by experts to be the finest specimen of this maker’s work in existence.” [6] Hollman’s favored cello was a 1691 Antonio Stradivarius cello, whose previous owner was Philip of Damian Hoensbroeck, the 13th bishop of Roermond. Later in his life, Hollman’s musical endeavors led him to Japan, where he provided cello lessons to the son of the Emperor. In 1923, at 70 years old, Hollman completed his concert tour in Japan and left the Stradivarius cello as a gift to the imperial court. [7]

In his lifetime, Hollman received numerous awards and honors. The Dutch King William III appointed him Court Chamber Musician and Officer of the Order of the Oak Crown. A year later he became Knight of the Legion of Honor in France. Hollman was also honored as a Knight of the Crown of Mecklenburg-Strelitz and the Japanese Emperor appointed him “officer of the Order of the Rising Sun.” [8]

Joseph Hollman passed away on December 31, 1926. His last wish was to be buried in his hometown of Maastricht. A bust of Hollman remains on display in the vestibule of the old town hall of the city. [9] Several of Hollman’s recordings have survived, including one of Saint-Saens’ The Swan and a 1915 recording of Chopin’s Nocturne in F major, transcribed by Adrien-Francois Servais, which can be heard on Youtube.

Hollman’s cellos represent some of the finest instrument makers in history. Cellos by these legendary makers still serve as models for many contemporary instruments. Givens Violins is delighted to offer a range of cellos modeled after these makers works. Here are a few examples:

Daniele Scolari “Davidov Stradivari” model – $35,000

Topa Workshop “Strad Model” – $16,000

Demeter Petru Christian “Strad model” – $5,900

Jay Haide “Vuillaume model” – $8,900

[1] “Joseph Hollman.” Wikipedia, the free encyclopedia . 19 Aug 2018. Web, 17 Nov. 2018.
[2] “Joseph Hollman.” Wikipedia, the free encyclopedia . 19 Aug 2018. Web, 17 Nov. 2018.
[3] The Theatre. 1 Aug. 1888. Google Books. Web 8 Nov. 2016.
[4] “Hollman, Joseph.” Cellosonate July 2014. Web, 4 Feb. 2019.
[5] “Hollman “The Grand Old Man of the Cello.’” The Music Magazine-musical Courier 7 Dec. 1922. Google Books. Web, 26 Jul. 2013.
[6] Etude: The Music Magazine, Volume 24. 1906. Google Books. Web 27 Feb. 2019.
[7] “Joseph Hollman.” Stichting Maastrichtse Componisten, 2012, www.maastrichtsecomponisten.nl
[8] “Joseph Hollman.” Wikipedia, the free encyclopedia . 19 Aug 2018. Web, 17 Nov. 2018.
[9] “Hollman, Joseph.” Cellosonate July 2014. Web, 4 Feb. 2019.

Filed Under: Players

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