We have addressed this issue in other threads.

For example check out:

http://www.talkclassical.com/38954-conductors-acting-too-much.html#post906851

http://www.talkclassical.com/27538-how-do-we-judge.html

 

This thread is specifically about violin soloists, however.

I like to think that demeanour doesn't affect my response all that much - but I am probably mistaken, being human. We all respond to body language, not always at a conscious level.

If a violinist is making faces or reacting in an affected way, it would put me off.
A smile, or a slight movement to the music, will probably add warmth to my response, provided that it doesn't seem artificial. (I used to use a Sarah Chang YT video to help me learn 'Air on a G string'; the way she reacts when she nearly runs out of bow - a wry smile - certainly helped me think about how to play that opening note!)
A deadpan attitude helps me to think that the violinist is serious about what s/he is doing.

 

This thread is specifically about violin soloists, however.

I like to think that demeanour doesn't affect my response all that much - but I am probably mistaken, being human. We all respond to body language, not always at a conscious level.

If a violinist is making faces or reacting in an affected way, it would put me off.
A smile, or a slight movement to the music, will probably warmth to my response, provided that it doesn't seem artificial. (I used to use a Sarah Chang YT video to help me learn 'Air on a G string'; the way she reacts when she nearly runs out of bow - a wry smile - certainly helped me think about how to play that opening note!)
A deadpan attitude helps me to think that the violinist is serious about what s/he is doing.

Sarah Chang is a fascinating example. Very fine player. I aw her at a rehearsal, very high heels, legs kicking and stamping, and I know it distracted some of the musicians. In the concert she wore a long dress, but still did lots of flamenco stamps.

 

This comes to mind. Leila Josefowitz gets some criticism for it, but I wouldn't want to change a thing. (It helps that she looks gorgeous here.)

 

Watching Nadia Solerno Sonnenberg gives me vertigo

 

I knew she'd come up eventually.

I'm not particularly concerned with gesticulations, but in a live performance, it would be nice to have them like like they're actually alive.

Once I saw the Eroica Trio, and they all had a different persona they were presenting. The violinist, I think, was associated with fire, and I do remember her energetic, almost Riddler-like stance, in contrast to the elegance of the pianist and the dreamlike posture of the cellist. It made for a more compelling visual effect.

 

When I listen to music, it's the music I'm interested in, if I want to watch someone dance, I'll watch "Dancing With the Stars". If a performer is moving too much, I'll leave the sound on and go to another window where I don't need to watch the performer. That way I can have some nice background music for Spider Solitaire.

 

Most of my listening is on CD so body language is not a major issue. Plus we listen mostly to Baroque where it's all affect.

Heifetz was once quoted as saying that to play the violin, you need "the nerves of a bullfighter, the vitality of a night-club hostess, and the concentration of a Buddhist monk." He is noted for his impassiveness.

"Conventional" technique might mean that you are not that expressive from far away, moving just the necessary and trying to avoid too extreme faces. That doesn't mean the performer doesn't have any emotion (think David Oistrakh).

Then there are the theatrical and extrovert personalities such s Vengerov and Lang Lang.

 

To return to topic: in this link, Andrew Manze & Rachel Podger both move their bodies in time with the music, and express vigour and enthusiasm in their movements and smiles; also expressing awareness of each other, as it's the Bach Double.

This sort of animation I do find attractive, and not distracting.

I'm looking forward to seeing Rachel Podger play in Norwich Cathedral this September.

 

I once heard the Finnish pianist Ollie Mustonen play the famous Grieg Piano Concerto at the concert hall in Gothenburg, but his facial expressions and arm mannerisms completely spoiled the experience for me, actually killed the work for me, every time I hear the Grieg Concerto ever since I see Mustonen in front of my inner eye and make my ears throw up slightly...

/ptr

 

Good way to get the wax out.

 

In my estimation, Lang Lang is too much over the top.

That's an understatement.

For me the whole performance comes together when music and body form one expressive instrument. Each piece and each performer is different and they communicate differently. Sometimes the message comes across, sometimes not, to varying degrees of success.

The one thing I can't stand, however, is seemingly intentional manipulation through overacting.

 

The soloist's actions should complement the music as much as possible. That said, whatever they need to do to produce the best-sounding performance should be done.

I like Perlman's style of performance, where he is obviously thinking about and connecting to the music with his expressions and body language, but any physical pyrotechnics are limited to the rapid movements that some sections of the piece require.

 

In public performances Jascha Heifetz cultivated an aloof, patrician persona and critics often used to describe his playing as "cold" or "detached". If, however, you listen to his recorded performances, they are full of real emotion. It's a good example of how a performer's physical appearance can create an impression that subliminally influences how those watching feel about what they are hearing.

 

In watching the violinist Arabella Steinbacher, I noticed that she plays with her eyes closed during much of the performance. Is this a common practice? Might this handicap a performer (no eye contact with the conductor, not seeing where the bow is vis-a-vis the bridge, etc.)? Or does it denote a complete command of the instrument?

ormandy

P.S. Her performance of the Beethoven violin concerto on You Tube is stunning (as is she personally).

 

I often play with my eyes closed, and so did one of my violin teachers. And I've read about other fiddlers/ violinists liking to do it too. It helps a player to concentrate on the sound and for an amateur like me, helps the intonation therefore - for a professional soloist, it probably also helps the dynamics. Obviously for orchestral violinists there'd be a huge hazard, so they are less likely to do it.