Quotes & Sayings About Violinists

It would be easier to say, what was the difference in style from many years ago. Many years ago, the old violinists, they also had a good technique, they were not tonally as good. — Ruggiero Ricci

You are the hip-hop violinist, the creator, the visionaire, ... and therefore you should do whatever the hell you wanna do because whatever you do is right. They're not gonna have like 20 hip-hop violinists in the company. I know what to do. — Miri Ben-Ari

So what are violinists?
Well, I think they're really sensitive, and kind of deep. — John Marsden

A guitar is a piece of wood, and if this piece is resonating in a period of 40 or 60 years, it kind of gets to know what it is after awhile ... the reason violinists play violins that are hundreds of years old. The wood learns to sing. — Dave Genn

More so than with any other instrument, the violin becomes part of the body. Good musicians are physically dissolved when playing, and for violinists, who cannot see where to place their fingers and have nothing to guide them through touch, music must be more than ever about memory than fingertips and breath; the ventage is deeper, more of the self, closer to singing. — Lavinia Greenlaw

You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you. — David Ogden Stiers

There's a lot of scientific evidence demonstrating that focused attention leads to the reshaping of the brain. In animals rewarded for noticing sound (to hunt or to avoid being hunted, for example), we find much larger auditory centers in the brain. In animals rewarded for sharp eyesight, the visual areas are larger. Brain scans of violinists provide more evidence, showing dramatic growth and expansion in regions of the cortex that represent the left hand, which has to finger the strings precisely, often at very high speed. Other studies have shown that the hippocampus, which is vital for spatial memory, is enlarged in taxi drivers. The point is that the physical architecture of the brain changes according to where we direct our attention and what we practice doing. — Daniel J. Siegel

I've just confirmed every bad joke ever told about second violin players. Question: How many second violinists does it take to screw in a lightbulb? Answer: They can't go that high. Gerda — Tess Gerritsen

I started taking piano lessons when I was about 5, and there was always a lot of music in my family: my parents both play instruments, my grandparents were classical violinists, and my grandfather was actually a music professor and a conductor. — Adam Schlesinger

Looking for inspiration in expression, I have actually always looked to singers and violinists. I have never really looked only at the recorder as a remedy for my expressions. — Michala Petri

The second fiddle. I can get plenty of first violinists, but to find someone who can play the second fiddle with enthusiasm — Leonard Bernstein

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra - they'll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I'm too sentimental, to bring verbal ease when I'm syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style. — Zadie Smith

In one study, elite violinists had separated themselves from all others by each accumulating more than 10,000 hours of practice by age 20. Thus the rule. Many elite performers complete their journey in about ten years, which, if you do the math, is an average of about three hours of deliberate practice a day, every day, 365 days a year. Now, if your ONE Thing relates to work and you put in 250 workdays a year (five days a week for 50 weeks), to keep pace on your mastery journey you'll need to average four hours a day. Sound familiar? It's not a random number. That's the amount of time you need to time block every day for your ONE Thing. More than anything else, expertise tracks with hours invested. Michelangelo once said, "If the people knew how hard I had to work to gain my mastery, it wouldn't seem wonderful at all." His point is obvious. Time on a task, over time, eventually beats talent every time. I'd say you can "book that," but actually you should "block it. — Gary Keller

I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer. — Nigel Kennedy

Violists hate it when we violinists crack viola jokes. — Paula Yoo

The way you hold the bow, the way that violinists are trained to produce a note, is really different. I'm not an expert in classical music. I don't want to say something that ends up in print and somebody comes running after me with a shovel, but they're taught for each note to stand alone in a very deliberate kind of way, which is really different than how notes are strung together in old-time music to create rhythm. — Bruce Molsky

We often suffer from akrasia, weakness of will. So we become good people the way we become good tennis players or violinists, through practice until the behaviour we aspire to becomes natural and instinctive. Being moral means acquiring the habits of the heart we call virtue. — Jonathan Sacks

Wo wei ni xie de," he said, as he raised the violin to his left shoulder, tucking it under his chin. He had told her many violinists used a shoulder rest, but he did not: there was a slight mark on the side of his throat, like a permanent bruise, where the violin rested.
"You - made something for me?" Tessa asked.
"I wrote something for you," he corrected, with a smile, and began to play. — Cassandra Clare

The mastery of one's phonemes may be compared to the violinist's mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor's renderings indulgently, mentally rectifying the more glaring inaccuracies. — Willard Van Orman Quine

And it works. There have now been many studies of elite performers - international violinists, chess grand masters, professional ice-skaters, mathematicians, and so forth - and the biggest difference researchers find between them and lesser performers is the cumulative amount of deliberate practice they've had. Indeed, the most important talent may be the talent for practice itself. K. Anders Ericsson, a cognitive psychologist and expert on performance, notes that the most important way in which innate factors play a role may be in one's willingness to engage in sustained training. — Atul Gawande

Chess is no whit inferior to the violin, and we have a large number of professional violinists — Mikhail Botvinnik

When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they're talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of - or alongside - the words of a song. I found that if I sang a line using the consonants, vowels, shadings, and inflection we recognize as human language sounds, people responded as if I were talking to them. — Bobby McFerrin

There have now been many studies of elite performers - international violinists, chess grand masters, professional ice-skaters, mathematicians, and so forth - and the biggest difference researchers find between them and lesser performers is the cumulative amount of deliberate practice they've had. Indeed, the most important talent may be the talent for practice itself. — Atul Gawande

Violinists' hands aren't the prettiest because of our nails and what our hands have to go through. — Lindsey Stirling