One of the great benefits of Suzuki classes, is the frequent opportunity to perform as a soloist. Yet for many of us, public performance can begin as a mixed blessing. On one hand, it is our joy, and solemn duty as musicians, to share our song with the world. At the same time, the journey of preparing and presenting a concert can be drawn out, eventful, and even painful.

Remembering my music major days in college, solo oppportunities were infrequent, mostly obligatory recitals. Throughout my adult life, I’ve had the chance to speak in public, lead seminars and teach classes. None of that could properly prepare me to play the violin as a soloist. It is often quoted that many people fear public speaking more than death. My nemesis is instead the concert stage.

I made a comittment, not so many years ago, to face this fear head on. For the first time, I performed a solo piece completely from memory. For a seasoned orchestra player like myself, shedding that music stand was a big deal. The result wasn’t exactly my most comfortable effort, but at least it was a goal accomplished. After another year of preparation, I upped the ante and played a full movement and cadenza of a Mozart concerto, also from memory. Though I got through the experience, it was even more uncomfortable. My nerves didn’t settle until I neared the end of the music. My own sense of frustration with that experience drove me to continue the process.

I tried to schedule more concerts, mostly in small, informal venues, and tried everything I could to put some positive performing experiences under my belt. Finally, I had an opportunity to revisit that first short solo, called “Meditation” in a recital situation. For the very first time, I could say I was truly happy with my performance. I walked off the stage smiling, knowing that I had finally come close to my potential. All in all, it was a three year journey; agonizing at times, but never dull!

Last month, I had the opportunity to play an entire concerto, (for violin and oboe) by Bach, with orchestra. I prepared for several months, and wondered what it would be like to stand in front of an orchestra, in a big church, filled with concert goers. The dress rehearsal went well for both me and my colleague, oboist Lynette Kobernik. As the day of the concert came close, I tried to do everything right. I stayed well rested, ate the right foods, and practiced my yoga and deep breathing.

Bill Alpert/Lynette Kobernik, Lyric Symphony • Feb. ‘07

On concert day, I felt that familiar “wired” feeling. I know I wouldn’t be good company, so I sequestered myself from the rest of the family. I did a morning bike ride, more yoga and spent quite a lot of time getting warmed up. The drive to Riverside was uneventful, and I arrived early. I chatted with colleagues, went backstage for more warmup, and soon i heard the orchestra playing the first piece. I had a lot of energy, and happily, I had no feelings of fear or dread.

The concerto went well. There were no surprises; it felt good to actually realize the points of technique and interpretation I had spent weeks and months preparing. For me it was a success on many levels. The audience seemed to enjoy it, and responded with warm enthusiam. I learned to move outside the limits of my own fears.

I hope every music student, with the help of a dedicated teacher, will do his or her best to learn the right notes and play in tune. I hope she will always practice with focus, creativity and dedication. I hope he will attend every lesson and class. I hope they will all share their song with the world. Above all, I hope that music students everywhere also learn to conquer their fears, set and reach worthy goals, and become happy people. After all, that’s what Suzuki is all about!