After more than forty years as a soloist, chamber musician and teacher, I have gradually developed a particular approach to the relationship between the body, the violin and the left hand. This research has led me to rediscover the possibilities offered by playing without a shoulder rest: a way of holding the instrument in which the violin rests naturally on the collarbone and is supported by the left hand, without the need to hold it through excessive pressure between the chin, shoulder and jaw.
PRESERVING THE MUSICIAN'S BODY
Playing the violin is also a physical activity. Years of repetitive practice can lead to tension and pain, particularly in the neck, shoulders, back and upper limbs. These problems are now well documented among string players. They have many possible causes: posture, repetitive movements, practice time, fatigue, the instrument itself, individual anatomy, as well as technical habits and muscular tension. For this reason, finding a balanced position without unnecessary tension is an important part of my teaching. Playing without a shoulder rest can be a particularly valuable tool for exploring this balance. By removing one element of support between the shoulder and the instrument, it becomes possible to reconsider the violin's equilibrium, the freedom of the shoulders and neck, and the role of the left hand. This is not to suggest that playing without a shoulder rest eliminates the risk of injury, or that the shoulder rest is itself responsible for such problems. Every body is different, and no technique will suit every musician in exactly the same way. The aim is rather to learn to recognise unnecessary tension, understand its origins, and search for a way of playing that is freer, more balanced and more sustainable. For musicians pursuing a professional career, this awareness of the body is essential: preserving your instrument means preserving your ability to make music over the long term.
A NEW FREEDOM
After playing for many years with a shoulder rest, discovering how to play without one profoundly changed my own perception of the violin. What interests me today is to share this experience and allow each musician to make the discovery for themselves. Ultimately, it is not a question of playing “with” or “without” a shoulder rest. It is about finding a way of playing in which the body is free, the instrument is balanced, and technique allows the music to express itself fully. Technique is not an end in itself: it must serve musical freedom. This approach, sometimes referred to as “playing on the thumb,” is by no means new. Many of the great violinists of the twentieth century — including Nathan Milstein, Jascha Heifetz, Yehudi Menuhin, Henryk Szeryng, Leonid Kogan, Arthur Grumiaux, Ruggiero Ricci, Zino Francescatti, Aaron Rosand and Michael Rabin — played in this way, as does the internationally acclaimed soloist Augustin Hadelich today. But beyond the question of the accessory itself, it is above all a different conception of the relationship with the violin that I wish to share.
TECHNIQUE IN THE SERVICE OF FREEDOM
The aim is not to replace one “correct” method with another, nor to impose a single way of holding the instrument on every violinist. I have never required my students to give up their shoulder rests. On the contrary, I encourage them to experiment, compare their sensations and understand what is actually happening in their bodies when they play. There is no miracle solution. Like any technique, learning to play without a shoulder rest requires time, patience and gradual practice. It can nevertheless open up possibilities that a musician may never have previously considered.
Playing without a shoulder rest allows us to explore:
-greater freedom in the shoulders and neck
-a heightened awareness of the body's movements
-a more direct relationship between the left hand and the instrument
-greater freedom of movement in the left hand
-different possibilities for vibrato
-a more refined awareness of sound production
-a more conscious approach to intonation
-and, above all, a feeling of natural connection with the violin.
FROM THE MODERN VIOLIN TO HISTORICAL INSTRUMENTS
This research also takes on particular significance through my work with historical instruments. The Baroque violin, like most historical string instruments, is naturally played without a shoulder rest and generally without a modern chin rest. For musicians wishing to explore historically informed performance, learning to find a natural balance with the instrument can therefore be an especially enriching experience. The meeting point between modern violin technique, the traditions of the great twentieth-century violin schools, and research into historically informed performance practice can greatly expand a musician's possibilities. This diversity is what interests me. Rather than asking a violinist to choose between different “schools,” I prefer to provide the tools necessary to understand different approaches and gradually develop a personal technique.
AN APPROACH FOR VIOLINISTS AND VIOLISTS
This approach is intended for students, professionals, teachers, and violists alike.
It may be particularly valuable for musicians who:
-wish to discover how to play without a shoulder rest
-experience tension or a lack of freedom in their playing position
-wish to reconsider established technical habits
-want to deepen their understanding of left-hand technique
-are working on vibrato or intonation
-wish to explore Baroque repertoire and historical instruments
-or simply want to discover another way of experiencing their instrument
