violinist: the role deconstructed

Recently, I was forwarded a document from a professional symphony orchestra which describes the demands and duties of the symphonic violinist.  At first, the description seemed ludicrous to me, but as I reflect on it, it in fact turns out to be a pretty accurate dissection (or deconstruction, if you will) of what the day-in and day-out work life of a symphonic violinist entails.  Compare it with your job’s demands.

Symphony musician physical requirements:

1)  Duration of mandatory rehearsals and performances (termed “services”) is predictable for typical work on the job site; however, individual private practice (at home or in a studio) is generally necessary for preparation in advance of and between services. On-site services are typically 2 1/2 hours duration with rest periods of 15 minutes at the approximate midpoint of the service.    Typically, playing is not continuous during the work sessions, hence the 5 minute estimate in item #6. Between periods of playing during work services, the musician is typically in an alert “rest” posture with the instrument in the lap.
2)  Duration of private practice varies considerably and the intensity, frequency, duration, and rest periods of private practice are not regulated except by the discretion of the individual musician as necessary for preparation of material in advance of, and between, services.
3)  Walk on a level (typical) or uneven (occasional) surface. Inability to walk can be accommodated, if necessary.
4)  Ability to climb onto performance platforms (“risers”) of approximately 24 inches in height using stair steps of 8 inch risers; maneuver body physically between and around music stands and instruments without bumping stands or instruments. Inability to climb steps may be accommodated, if necessary.
5) Sit for periods of up to 90 minutes. On very rare occasions (four times annually or fewer), may need to sit for periods of up to 2 hours.

Violinist physical job requirements:

1)  Typically, for repeated periods of time up to approximately 5 minutes each separated by brief (less than a minute) rest:
a.  Use of left hand and arm to hold and support a violin typically weighing approximately 16.2 ounces in a position extending outward from the collarbone and chin while simultaneously using left hand fingers to rapidly move and precisely position fingertips independently or simultaneously (e.g., one or more than one of four fingers pressing downward on strings (made of gut or perlon core wound with silver wire) that are under tension so that the length of the string that is free to vibrate is shortened by the finger pressure on the string as held fast against a firm wooden surface; simultaneous with the finger pressure, the wrist or arm moves in an oscillating motion to create “vibrato” or regular pulsating change of pitch; and
b.  Use of right hand to hold a bow of approximately 29 inches in length and weighing approximately two ounces at the frog (where the bow is gripped by the hand) ranging to about one ounce at the tip while applying downward pressure that ranges from simple gravity of the bow’s weight to about two pounds of pressure from the right arm while simultaneously moving the bow across the strings of the instrument in a controlled and deliberate manner for producing a variety of required and specific effects with variances of speed, pressure and angle. The bow is held and moved at an angle by arm and wrist motion with the elbow away from and to the side of the body in positions that may range from the elbow being at the height of the waist to the height of the shoulder and the movement or path of the bow describing arcs and spirals.
2.  Lift from a resting position (with the instrument on the lap) to a raised position (playing position) holding a violin weighing about 16.2 ounces in a position in front of the body with some of the weight resting on the collarbone or shoulder (with elbows bent and arms extended) so that the hands are approximately 12 – 16 inches in front of the collarbone depending on the required pitch.
3.  Ability to reach forward with hand and arm (primarily left hand and arm) to turn pages of music on a stand approximately 3 1/2 feet in front of the body.
4.  Ability to read music accurately at a distance of approximately 3 1/2 feet in front of the body.
5.  Ability to hear and discern subtle sound differences of pitch, timbre, and volume and adjust pitch, timbre and volume to conform to requirements of individual part performance.
6.  Ability to hear, understand and comply with oral instructions given at a moderate volume.
7.  Ability to discern subtle time-specific cues and adjust vibrato speed, bow pressure and speed, and finger manipulation so that entrances, rhythm and ensemble performance conform to the required timing of performance.
8.  Ability to attend rehearsals and performances on a generally consistent basis for each distinct program as each performer in the violin section is relied upon to perform an essential part.    Accommodations are made for occasional illnesses or injuries by the engagement of substitute musicians.
18.  Typically, all players of the same section may be required to play “in unison” meaning that all will play the same notes at the same time. On occasion, parts are distinct or a single section may be divided into two or more subsections playing different music at the same time (called “divisi”).