A Playing Bubble

Whether I am in the audience or performing on stage, I always believe that the climate of emotions and intentions (in the room, hall, stage etc.) are influencing factors. Truly, they are forces to be reckoned with... We seem to feel them, like a heaviness in our gut. Maybe, that's our gut, begging us to play in tune (or declaring to never order oysters before a concert again). Thus, emotions tend to manifest through our thoughts. Yet, we feel them powerfully influencing our performance. In live performance, what we think is what we feel. There are no exceptions. If this holds true, just how easy is it to identify stage fright as an obvious issue?

Humans smell fear and we love to judge a performer, under the hot spotlight. The best performers, in my opinion, ignore the spotlight completely. In short, they just have fun. The stage becomes their playground and the audience partakes in their ongoing, and gradually unfolding, wonder. Wonder, in this sense, implies no preconceived notions about how a performance "should" go. A flower blooming and an unfolding journey, that everyone identifies with, are just two ways of describing a great performance. Rest assured, there is no unnecessary heaviness, anxiety, and exaggerated self (ego-based). The self may expand with the music, if the music beckons this growth. In this case, it is permissible. The music, however, must always take the lead. Otherwise, we are just stepping on the toes of a very graceful dance partner.

As an audience member, I can usually determine, within the first five seconds, the clarity of the music I am observing. If a performer worries in the middle of a phrase, I will usually lose the overall line and become distracted by his/her personal setbacks. When the audience identifies these setbacks, does the performance ever get worse? Yes, most of the time. I have witnessed many "professionals" instantly revert to the level of a worried student, despite their training. If they begin to doubt their abilities, it usually implies that they are thinking about too many external factors (expectations, self-imposed restrictions, lack of focus etc.), while offering up the music as a sacrifice. In this case, the music will be without its most vital nutrient-an inner peace, deeply rooted in trust, that surpasses all understanding. This may just be the thrill of music, as both an exciting challenge and endless pursuit.

Once again, a musicians' mindset and personal approach will set the stage (no pun intended) for the quality of music and playing level. Too much overthinking will clog the musical line, similar to what happens in Tetris, when the pieces don't quite fit together. In the best case scenario, we must become the music, it makes sense to both audience and performer(s), and it just feels right. Whenever this occurs, there is no playing level, only magic. Real music, as Gestalt, is achieved.

A professional must guarantee consistency (to the best of his/her ability). If we are professional musicians and really work at getting our expectations out of the equation, mistakes should be minimal and subtle . Alas, we are human and mistakes do happen. An imperfectly perfect performance, in most cases, is good enough, and yet unsatisfying. From a performers' perspective, don't we always want to play better? Why else would music be so engaging and require immense focus? After all, most can mess up at other jobs and still remain gainfully employed. However, with music, messing up becomes an uneasy feeling that is best dealt with in the practice room, so that it may seldom happen in a live performance. If it does happen, and if we are in this masterful process, we will not be truly fulfilled and will seek more useful, and efficient, practice sessions.

Regardless the ability level, performing is always a matter of mental, physical and spiritual conditioning. Technical deficiencies must always be analyzed and understood, but only in the practice room. Although practice does not always make perfect, there is a near perfect practice. We must practice complete awareness, while still riding that wave. Practicing, like performing, should never be a labor. It should always be a flowing, moving experience in total consciousness.

Fewer than most trained musicians will consistently rise above distractions. This is precisely why they are "great" artists. In an age where the merits of Classical musicians go unnoticed, who cares about peak performance in music (if it exudes image)? Well, we certainly do in professional sports. Why has so much music resigned itself to image, while sports has still kept its athletic merit? From a performance standpoint, Classical musicians must have a performance level parallel to what is expected in most professional sports. Our symphonies, concertos etc. are akin to any intense game, always requiring total dedication. This is something that simply must be pondered! It can't just be all about image, can it? Even so, the arts, especially Classical music, are a staple of any great society. Through the gift of music, our shared experiences, ranges of emotions, depth of understanding, and Love-based phrases bring forth an insatiable desire for peace. Great musicians, much like great athletes, inspire all with joyful hearts and a divine passion for life.