The homogeneity of the sound material to be sculpted makes the whole pitch range available to the fingers work (and to the tongue’s one for the wind players) : on this ground, the musician’s personal speech develops its spectral richness enriched by the overtones of his inner vibration, allowing a uniform technical ease ignoring the alleged difficulties related to low or high notes.
The interpreter who genuinely listens, that is to say, listens to both what he wants to play and what he played, is confident to master its sound (…)
Once you found your wide, colorful and relaxed sound, which may go unscathed from the most extreme fortissimo to the most intimate pianissimo, and able to carry all the richest emotions of the human soul into these extreme shades, then you have found yourself, which leads you to an unrivaled joy (…)
Dominique Hoppenot, Le violon intérieur
(translated by Guy Robert)