Ravinia 2019, Issue 1, Week 2

Anyone who’s taken a few lessons in classical instrument performance will remember strictures about playing posture, but as Howard Nelson notes, especially to the fellows at the summer conservatory Ravinia’s Steans Music Institute, how the body is held when not playing is just as important in the 21st century, when the “smartphone posture” can be—literally— painfully similar to playing (right). Spending some time stretched upright, even if with some guidance (below), provides highly necessary change of motion to avoid injury. E V E R Y I N S T R U M E N T has its own set of problems or hazards. Howard Nelson, a physical therapist and the hus- band of violinist Pamela Frank, urges musicians across all disciplines to be smart about their practicing—to think about how much time they spend, how often they take breaks, and what their reasons are for stopping. Nelson, who since 2016 has been working with the piano and string artists at Ravinia’s Steans Music Insti- tute during their summer fellowships, tells musicians to stay off their phones during a break from practicing. While playing, “players are typically leaning forward with their hands in front of them and their head down”—the same alignment that most people use on their phone. For a change of motion, he suggests getting their hands and arms over their heads, or simply taking a short walk: “It’s great for your body, but nobody does it.” Better musicianship can also save a musician’s body. Frank points out that if instrumentalists are practicing an orchestral part and know the score thoroughly, they can spend less time on sections where their part is not the most important voice, thereby getting the same benefit from less practice time. Nelson does not follow the specifics of yoga, Pilates, Alexander technique, or any of the other systems of movement, but the common factor is “they’re all asking people to be mindful of how they use their body.” Urioste tried Alexander technique and decided it wasn’t for her, but she knows other musicians who love it. “The key is finding a motion practice that is safe, that strengthens your playing muscles, and keeping an open mind,” she says. “I absolutely encourage people to find what works for them.” Another body practice that RSMI fellows now have the opportunity to try is the Feldenkrais method, taught by Hagit Vardi and her husband, Uri, a professional cellist who teaches at the University of Wisconsin. “A lot of musi- cians feel that the music only comes out in a certain configuration of their body,” says Uri. “That happens because they’ve never tried others. Once you challenge CARLIN MA (BOTH) 24 RAVINIA MAGAZINE | MAY 31, 2019 – JUNE 16, 2019