The Violin Channel recently caught up with Bulgarian violinist Svetlin Roussev.
In a VC-exclusive guest blog, the former major prize winner at the Indianapolis and Long-Thibaud International Violin Competitions talks us through his top tips and advice for rock solid memorization.
“This is a difficult but interesting topic – and needless to say very personal – so I will speak for myself and share my performing and teaching experience.
First of all memory needs to be trained constantly as our neurons do regenerate!
There is certainly the process of aging which should only be fought against. We all remember how much easier we absorbed information, music, and poetry when we were younger.
For us musicians, it is very easy to lose the habit of performing ‘by heart’. Simply because, most of the time, we don’t need to, but…this is another story!
Since we are talking about how to memorize, let me express some different observations.
A friend of mine has the great capacity of reading anything four times (including highly complicated articles she doesn’t necessarily) understand and memorize it photographically.
An impressive and phenomenal feat, most of the people are envious, even jealous.
This skill was a result of her dealing with stress. Why? Because, as soon as she gets nervous, it becomes impossible to turn a page during a performance.
Another shocking example, includes the many interesting, promising young players who manage to perform a piece from memory without even knowing what notes they are playing!
Thanks to the countless repeated movements, psychomotor reflexes combined with fingerings and bowings, results in a flow of…notes.
And on the day of the audition or exam, it doesn’t work well enough, as the brain control is missing.
Consequently, the player endures what’s happening, rather than controlling the action. The result is memory slips. Not great either.
Since we are mentioning tips, in my opinion, it is crucial to put every single chance on our side while memorizing music efficiently.
How? All our knowledge from theoretical subjects should be used.
I insist, as we often realize the benefit of our studies much too late.
What is the form of the piece, sonata or rondo? Unaccompanied work or a concerto?
In terms of length and quantity of musical content, there might be a comparison between these two.
Also, unlike with a solo piece, it appears to me quite impossible to ignore what’s happening around you when performing accompanied music.
Essentially, we need every single part of the background.
It is very helpful to know the score well, as the orchestration of the same repeated phrase could be different each time.
Overall analytical structure, such as how many bars are in a phrase, are basic in conducting and should be included in your preparation!
Does the musical shape go up or down? Often, the visual movement greatly helps the phrase and consequently our memory.
In my experience, using the harmony to organize the vertical structure of what we play is very underrated.
Voicing might be obvious in a fugue by Bach, although the bass line is rarely understood (worse, heard at all!)
It’s very rare than we stick to some sort of horizontal melody in our great classical music.
Last but not least, a bit of self confidence and the joy of performing is very useful!
Since time is precious, let’s continue to do our best in order to be as organized as we can.