Your aim is to re-produce at your will the rewarding feeling of inner vibration, by quickly retrieving the relevant attitude : your body configuration is then assessed by your self-confidence coming with the stability of the sound source, which is just waiting to be revealed and instantly revived, to be next amplified by the instrument.
The most constructive motivation in the conquest of the instrument is the enjoyment motivation (…)
Our approach is actually to develop an intimate and acute awareness of what you feel from a gesture or several combined gestures, until you can retrieve them and perform them exactly without any doubt, from a mere instantaneous mental evocation of the revealed sensation.
Sensations can only arise from shaping our desires, hence by creating associated mental images (…)
The true feeling corresponds to a well-being suited to everyone, adapted to the prior mental image (…).
(…) the feeling of “your self“ (…) leads you to experience the vertical axis, the mobility in space, the balance of opposing forces, the centering in “Hara“ (…) The contact feelings are generated from a keen awareness of your rooting to the ground, from the quality of your fingers presence on the bow and on the violin (…) Other feelings develop later during the playing itself ; they result from an already very elaborate achievement : a precise gesture, the feeling of “playing on yourself“, of “letting go“ and “laissez faire“ linked to the extreme vigilance of perception and listening (…)
(…) we are forced to consider that a performance is felt only through the pleasure of “vibration“.
He who has found his voice, that is to say his sound, no longer has to search it nor to fear its failure because it actually is. He just needs to call it without ever forcing it, to let it come and “let it go“ according to music, its master !
Dominique Hoppenot, Le violon intérieur
(translated by Guy Robert)