Lessons in Trust and Preparation

Last Friday I had the chance to perform the Mozart Flute and Harp Concerto. It was a transformative and rich experience, but the performance was just a small piece of the whole.

Side bar: There will be some backstory here, and it’s for slightly selfish reasons because I want to catalog this period of time so that I can revisit this experience later and fully remember the months leading up to this performance as well as the performance itself. If you’d like to skip ahead, I won’t be offended - jump to the bullet points further on in the post for the lessons I’ve learned that I think could benefit anyone preparing for something big.

The performance fell in the middle of an extremely busy summer festival, and an especially busy week and a half of performances. The run down went something like: Friday - Peter and the Wolf; Monday - Flute and Harp Recital; Wednesday - woodwind sextet performance; Friday - Mozart Flute and Harp Concerto; Saturday - Beethoven 5 and other pieces.

Whew. 

Now, I knew well in advance that I would be facing that timeline, as well as the repertoire I would need to have prepared. I had from roughly January to prep the concerto and late spring to prep the other pieces. It just so happened that I played Peter and the Wolf in March (on only a week’s notice!), so it helped to have that one fresh in my fingers.

What I could not have predicted was the fact that we would buy a house this spring (we were not planning on moving!), do some quick construction on our old house, and move all before the festival got here in mid-July. Add in hosting the first Flute Day at MU and a concerto with the MU Wind Ensemble, and it made for a wild ride in the first half of 2022!

Any one of these things could have completely thrown me in a tailspin not that long ago, but I had a few things working to my advantage. Like most freelance musicians, I have gotten good at learning music in a pinch. Years of filling in and jumping on board have made me confident in my abilities to make it work when I have to.

What that really equates to is squeezing in practice anywhere you can, because you have to. I took my flute on family trips or any time I was away from home for more than a day, squeezed in ten or fifteen minutes any time I could between lessons, and listened to the pieces I would be performing while I was painting walls during our moving and selling process. 

So far, none of this is earth shattering information - these are the regular things we do to prepare for performances when we’re busy. 

In this case though, I was preparing for an important performance of a concerto that is both famous and long (roughly 30 minutes), just a few years after a major run-in with performance anxiety/regular anxiety/stress. 

I’ve spent the last two years learning about why I feel nervous, what I can do before, during and after performances to help with that, and implementing that knowledge so that I am able to give a strong, confident performance that I can enjoy.

That’s no small order, no matter how much experience we have performing, competing in a high performance activity, or putting ourselves out there as creatives. 

There are many things that have helped me balance my time so that I can focus on what’s important, which include a willingness to say no to things that might be good (or less than good) but not great; getting enough sleep and eating well; hydrating; making time for things that help me unwind both physically and mentally (like yoga, reading, meditation, and family time).

But there are also some very concrete things that help me tackle feelings of worry and stress, concern about being judged, perfectionism in performance, and my ability to enjoy the moment that I know could benefit anyone who finds themselves in my shoes. 

I have to give credit here to a few sources that inspired most of the items in the following list - my teachers who planted pedagogical seeds that have grown into both saplings and strong trees, yoga and mindfulness meditation which have allowed me to begin to understand what it means to be embodied and not just in my mind, George Mumford’s Mindful Athlete course, and Terry Orlick’s book In Pursuit of Excellence. 

Here are some of the lessons that I’ve learned about trust and preparation:

• Move toward the danger: This was a phrase I heard used in one of my favorite podcasts in relation to doing the things that make us uncomfortable. It is not unlike the idea at the root of mindfulness that we need to accept the thoughts and feelings that make us uncomfortable. The application here is that if the idea of a performance makes you nervous or squeamish but you believe you can do it, move toward the danger! Commit to doing it and drawing out your skills and resources.

 

• Don’t aim to be perfect or to sound like anyone else: Perfection is a myth. I truly believe the saying that perfection is the enemy of good. If we are obsessed with playing the perfect version of say, Mozart, we will likely not play our best version of Mozart. Likewise, others can serve as excellent inspiration but we have our own voice for a reason. This leads me to:

 

• Capitalize on your strengths: I’ll lead with a personal example - I love to play Romantic era and Modern music, but not always Baroque, Classical or…Mozart. I am more at home in the colors of modern music than I am the ornaments and articulations of Mozart. Instead of stressing over this, I learned to be (more) comfortable by bringing my strengths with me and learning to love the rest. I could use my warm sound and control of color and timbre to sound like myself while getting better at the stylistic elements of Mozart. What could you bring to a challenging situation that has you written all over it?

 

• Know your preparation habits: Do you have a tendency to predict the worst? Are you a procrastinator? Maybe you just hate recording yourself? Make a list of the things you tend to avoid - not so you can berate yourself over them! - and then start with them. Do your least favorite thing first. In my case, I hate recording myself practicing even though it is endlessly useful. For this performance, I did that first. I recorded myself as often as I could. Sometimes I listened back, sometimes I didn’t. Sometimes I listened a week later. But as time went on it got easier and easier to hit record and then listen objectively.

 

• Mind your mind: Caring for your general well-being matters as much as anything when you have a big performance. This means training your mind in the months or weeks leading up to the event, but also how you manage yourself as the performance gets closer. I leaned hard on meditation and yoga to keep my mind and body balanced all the way up to the concerto. I also cut out caffeine, alcohol, and super salty foods for a little over a week prior, drank extra water, slept as much as I could and read lots of fluffy fiction to allow my mind a chance to relax. Listen to your body - you know what seemingly “regular” things can sabotage your best mind state.

 

• Practice Visualization: This one makes me chuckle a bit, because when I was nervous as a young performer my mom always told me to "visualize it" and I found it infuriating. Like, how could it be so simple? But you know what? She was right (of course!). There is so much research, primarily in sports, about how visualization can improve performance. I am still a novice at detailed, performance based visualization, but even in my limited experience it has been incredibly impactful. (Terry Orlick’s book is a great resource for this!)

 

• Learn from the good and the bad: Debrief after each rehearsal and performance. If it went poorly, what can you learn? What do you know you could implement? If it went well, don’t just say it went well - what made that happen? What actions did you take the created the outcome?

 

• Focus on the process, not the goal: Instead of creating a giant monster of meaning out of important performances, try to remember that they are a stop on your timeline - the culmination of things you have done and learned up to that point. I shared a reel on my Instagram reflecting on this in my preparation for this concerto, and I truly believe that we are what we think (mind your mind!) AND nothing happens all at once or in an instant. 

The most impactful part of this concerto performance for me was that I enjoyed the entire experience. I enjoyed being able to work through difficult practice days and remind myself that nothing is just right from the very beginning. I enjoyed visualizing myself in the moment and thinking about what my best performance could sound and look like. I enjoyed collaborating with the other musicians tremendously - what a treat after months of prepping alone. I even enjoyed feeling nervous on stage because I was able to see my thoughts and nerves for what they were - events, not facts. 

What I’ve learned over the last few years is that I’m not actually looking for perfection or virtuosity - I’m looking for balance. Balanced thoughts, balanced embodiment. And this time, I think I found a little of both.