A Competition

I know what you’re thinking, a violist entering a competition. Who does she think she is?

I participated in a local music festival a few months ago and I found out I was selected to perform twice in the provincial competition. Normally I shy away from these types of things as I usually need to travel to a different city, stay there for a few days, play, and then end up not winning anything. Although I tell myself the performance experience is important, I can’t help but feel frustrated and discouraged after several unsuccessful attempts. The same people always win every time whether they deserve it or not and no matter how hard I work I will never compare to them. I know I improve so much every year, but so do these people, I will never catch up. I know I shouldn’t be comparing myself to others and I should be intrinsically motivated, but it is hard to keep it up when it seems like other people don’t care.

I was originally not going to perform this time based on bad experiences in the past but I thought maybe this time would be different. Maybe my musicality would finally be taken seriously. Maybe even if I didn’t win I’d be more mature this time and not take it personally.

I made a conscious decision to make this a meaningful experience and not let the results of the competitions determine the worth of making the trip. I was going to go out there and give it my best shot and if the judges didn’t think that mine was the best performance, then that’s their opinion and is not representative of me as a musician.

The first performance was definitely not my best. I did not expect to win going into the competition based on the other competitors and what I knew of their playing. Even if I had played the best that I’d ever played, I probably wouldn’t have won based on how I know the other competitors play. It’s also pretty difficult as a violist to compete against a violinist and a cellist.

I was playing the first two movements of Hindemith Der Schwanendreher and the first movement of the Brahms Sonata No. 2 in E-flat. The rules of the competition required me to play the music all by memory, which was very challenging as that was about 30 minutes of music. Plus, it is not generally conventional to memorize sonatas. I play the first movement of the Hindemith very frequently memorized so it was no big deal, but I felt that as I played the second movement, I was praying not to have a memory slip. In some cases, I was thinking “When the piano plays __________, I play ___________” and just playing the movement very mechanically. This definitely affected my musicality as I didn’t have a clear concept of the full picture, just chunks that came in a specific order. It also affected my intonation more than usual as I was, in some cases, uncertain of exact notes. I ended up not having any memory slips and made it beginning to end in one piece, but it really took a toll on my musicality and expression. I wished I had approached memorizing that movement in a manner similar to my memorization of the first movement and, frankly, performed the movement more often. But it was too late, one can only focus on the present moment during a performance. The memory in the Brahms sonata was actually not stressful at all. Brahms is one of my favourite composers and I thoroughly enjoyed learning the second sonata (even though it was originally for clarinet). There were many times throughout the year where I’d just play through it after I was done practicing, often by memory. Unintentional memorization is the best type of memorization in my experience. Even though sonatas for non-pianists aren’t traditionally memorized, I felt that when I played it by memory I had so much more expression and emotion without the barrier of the music stand there. Arguably that was probably my most musical performance of the Brahms. Once again, I hadn’t expected to win and was quite fine with how I did. I did not listen to the other competitors but I have heard them play in the past and have a general idea of how they sound.

My second performance was for a Canadian composers category. There were only two competitors, myself and a pianist. It was definitely going to be very interesting as the pieces we were playing were completely different styles. I was playing the Hétu Variations, which is an unaccompanied atonal work. The composer was influenced by Bartok and it is evident in use of symmetry, folk-like melodies, and mixed meters. There is also somewhat of an element of serialism in the construction of the variations. The piece takes a certain amount of musicality and maturity to play effectively as it is atonal and not always straightforward. The pianist was playing a piece that was no where near as “deep” as mine and I believe it was depicting animals. While some sense of musicality is required to capture the character of each animal, it was definitely easier to capture the essence of the piece as the characters/colours/etc were more obvious.

I went to go perform and once again, I was required to perform this piece by memory as per regulation of the competition. Atonal unaccompanied works are the absolute worst thing to memorize, I’d memorize five entire sonatas before I memorize another atonal unaccompanied work! I’d performed the piece several times and I had a good concept of the bigger picture of the piece, so I wasn’t totally hopeless. I definitely had memory slips in my performance. This did take a toll on my intonation, due to uncertainty or just playing the wrong note all together and trying to change it. There were parts that I basically improvised. I don’t blame all intonation problems with playing by memory, but that was the case in the particular instance. Some intonation slips were legitimately my bad as well. I missed both harmonics on the last chord but I just kept going as I didn’t want to ruin the mood of the ppp ending. The harmonics are finicky too, despite being natural harmonics. It was the second partial on the G string with the fourth partial on the D string and it sounds D and F#. When I get them they ring really nicely, but I was not successful on either one. Anyway, one can only worry about the present moment when performing so I decided it would be best to keep the spirit of the ending rather than fight to make those harmonics sound. Even though I was literally inaudible on the last chord, I just had to keep going.

Then it was the pianist’s turn to play. I could tell right from his first notes that his technique was impeccable. It struck me that his playing was rather emotionless, but the piece did not require intense emotion or musicality as mine did. He did do a good job of bringing out the character changes but overall the piece did not require the same amount of maturity as mine. What also bothered me is he was quite a bit younger than me, I doubt he was older than 16 or 17 and definitely hadn’t received any musical training at the post-secondary level. Of course he was chosen as the winner because his technique was flawless and he had the musicality appropriate to his piece. Of course the judges tried to console me and said that I played very musically, phrased well (especially given the piece was atonal), had emotion, had a good stage presence, and yadda yadda. But they were really covering up the fact that I can’t play in tune and politely saying that I suck. I know for a fact based on my own personal instincts and what the judges said that mine was the more musical and mature performance, but technique wins. If that pianist played the piano equivalent of my piece, he wouldn’t have had the same level of musicality that he did in his piece.

It always takes an emotional toll on me for the next few days when I do a competition like this, even if I knew the result from the beginning. It’s just another reminder of the horrible first impressions I make on people because of my awful intonation.  They think they’re being helpful, maybe they’re the first person to tell me. Of course not, only 500 people a day tell me I can’t play in tune. The next thing that bothers me is how condescending they can be about it. I wish I could tell them that I have been aware of my intonation struggles for the past 15+ years and that I’ve come a long way and continue to work unbelievably hard. There are so many people that I’ve played for in festivals, competitions, and master classes who have a lasting impression of me as the idiot violist who can’t play in tune. And then you wonder why people continue to make viola jokes, despite my best efforts I am part of the problem. 

Of course here I am lying in my bed and intermittently crying while typing this blog entry. I feel like absolute sh!t and have no motivation whatsoever to practice at the time being. This is fairly typical after a competition for me. I have had it much worse in the past though. One time I drank an entire mini bottle of vodka straight while binge eating pizza when I found out I wasn’t selected for the final round of a concerto competition (another story for another time). I didn’t practice at all really that week either. At least this time now that I am more aware of how I cope with rejection, I’m confident I will bounce back possibly even later tonight or tomorrow for sure. Hopefully when I get out in the real world and take orchestral auditions I will be a much stronger person and won’t need to mope around every time things don’t go the way I planned.

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