I knew there was no way I could practice the amount I needed and not just completely destroy my body. I wondered how other people did it. It never occurred to me in college that it was something I could learn - University of Denver, USA, 1989 On line, or off, pandemic or no, wellness retreats for musicians are all the rage. With so much more now on offer in music colleges and schools in terms of a holistic approach, I set out to find out why so many young musicians are drawn to finding alternative support. In a survey I recently conducted about wellness as experienced by students in music schools and colleges over the last fifty years, it became apparent that, from the beginning of this [...]
About Ruth Phillips
Ruth Phillips was Born in London in 1964 and studied at the Yehudi Menuhin School with William Pleeth, and in Dusseldorf with Johannes Goritzki. In 1990, Ruth left a successful career with the Chamber Orchestra of Europe to continue her studies with Timothy Eddy at the State University of New York where she received her Masters’ degree in performance.
Described as a ‘consummate coach’, Ruth draws on her training as a Voice Movement Therapist, and on many years’ work with yoga, mindfulness, meditation and Non-Violent Communication. Her generous spirit and organic approach to playing has helped people all over the world suffering from tension and stage fright find presence, ease and inspiration. Ruth runs individual Breathing Bow retreats from her home in Provence and has run workshops at the European String Teacher’s Association conference, the Royal Northern College of Music and the Royal Scottish Academy of Music. With her colleagues, Alexander teacher and cellist Dale Culliford, and yoga teacher and cellist Jane Fenton, Ruth runs group Breathing Bow retreats throughout Europe.
Ruth has an active life as a solo, orchestral and chamber musician on both baroque and modern cellos. Passionate about all types of music, she enjoys regular collaborations with folk singers, The Brothers Gillespie, and the Indian cellist Saskia Rao. She is co-principal cellist of Opera Fuoco in Paris. Ruth’s writing on breath and performance has appeared in many publications including The Strad and BBC music magazines, and her book, ‘Cherries from Chauvet’s Orchard’ was shortlisted for the Guardian women’s memoir award. She was involved in John Beder’s 2016 documentary on stage fright, ‘Composed’, and her playing of Bach is featured on the soundtrack.
The Breath "The bow must be a living thing at all times, and all living things need to breathe" - Steven Isserlis, cellist. For me, the breath is the thing that binds all of this together. No-wonder it is at the root of so many spiritual practices! It is inspiration and expression, tension and release, taking in and letting go, expansion and contraction. It is not ‘ours’ though it passes through us, and it connects us with ourselves, our bodies and the audience. With all living things. The ocean breathes, trees breathe….It is everything we are and everything music is. When we are aligned and in harmony, we feel as if we are being breathed, just as we can, in performance, feel like the music is playing us. Working with [...]
Presence "The mind in its natural state can be compared to the sky, covered by layers of cloud which hide its true nature." – Kalu Rinpoche Once we learn to generate movement from our core and not interfere with it, once we start to follow rather than control the music, we experience an extraordinary new space. Presence. Like a city dweller suddenly finding herself under a huge desert sky, for some this space can be terrifying. What do I put in it? Who am I in it? In fact, it is there we find connection. With ourselves, the music and the audience. Thought “In order to really be, you have to be free from the thinking… Non-thinking is an art and, like any art, it requires patience and practice.” [...]
Non-Doing The tennis player observes the ball as it leaves his racket and completes the trajectory he has sent it on. He is no longer ‘in control’ of the ball but rather relaxed, alert and watchful. Primed for the return. Once we have learned to initiate movement from our core, we must then practice not interfering in it. For those of us who have learned that playing is all about control, holding and doing, this is quite a challenge, and yet this is what allows us to replace fear of being out of control with freedom and ease. Gravity “When the abandonment to gravity comes into action, resistance ceases, fear vanishes, order is regained, nature starts again to function in its natural rhythm and the body is able to [...]
Power versus Strength ‘When you have attained complete relaxation, you are able to be flexible and agile in your movements.’ - Zen master Yang Cheng Fu “To relax is not to collapse, but simply to undo tension….There is nothing to be done. It is not a state of passivity but, on the contrary, of alert watchfulness. It is perhaps the most ‘active’ of our attitudes, going ‘with’ and not ‘against’ our body and feelings.” - Vanda Scaravelli - Awakening the Spine. Building strength through force only promotes the shortening of muscles as they contract, causing fatigue and strain. That strain goes against rather than with our body. Developing power is another matter entirely. Power is a natural state. It involves movement generated from our core, a great deal of relaxation and a [...]
Introduction Many people ask me on Breathing Bow retreats if stage presence is something we can practice, if it is possible to find a way to be exactly where we are - in a concert hall with an audience right here and right now, about to share what we love? I believe that the answer is yes. Musicians’ preparation on a concert day can range from taking beta blockers to eating bananas. However, as soon as we are on stage we feel fear. Fear of losing control or mental focus, and above all fear of judgement. Our muscles contract, our heart rate speeds up, we go blank, our bow shakes, we sweat….the list of symptoms for ‘stage fright’ is endless and for many of us, coping with them simply isn’t [...]