Well-being for those in search of affirmation – Interview by Ioana Marghita
Lately, there has been a lot of talk about the importance of mental balance, of mental training under high-performance conditions. And if in other fields specialized psychological assistance is already understood, in music most performers have to find their own solutions. A premiere in Romania, and probably worldwide, the well-being sessions at the George Enescu International Competition are at the forefront of an approach in which empathy and concern for musicians’ emotional well-being are part of an initiative that should become the norm. The specialists who deliver these well-being sessions are instrumentalists at heart (Angelica Postu is a pianist and Anca Maria Cristescu a flutist) and have themselves faced all the challenges that any professional musician faces. This insider’s perspective gives them an invaluable advantage and credibility, complemented by their specializations at two of Europe’s most representative institutions in Berlin and Vienna. Their experience and expertise are also reflected in the dialogues we recently had.
I believe that any renowned artist has gone through a long and extensive process of searching and self-discovery, on how to cultivate a certain state of mind on stage – Interview with Angelica Postu
Angelica Postu works as a music therapist at the Charité University Hospital for Psychiatry in Berlin and is a PhD student at the University of the Arts in Berlin, in the music therapy department. As a university lecturer, Angelica Postu teaches Introduction to Music Therapy seminars at the National University of Music in Bucharest. In 2017, Angelica Postu founded the Romanian Music Therapy Association, unique in the country, which represents and promotes music therapy and its practitioners in our country. After obtaining master’s degrees in piano performance, psychology and music therapy in Bucharest, Berlin and Brussels, Angelica Postu has developed in recent years a unique approach in working with professional classical musicians, as well as visual artists, in understanding and developing their emotional growth and coping with stress and anxiety. For the past ten years, she has been delivering motivational lectures, workshops and individual and group seminars dedicated to musicians’ well-being, understanding and managing emotions through music and its impact on wellness.
The mental state of musicians has not, until now, been a particularly researched topic. Some might wonder how they are different from professionals in other fields. After all, any artistic activity on stage would deserve personalized therapeutic assistance, wouldn’t it? For musicians, what are the main difficulties they face and how do they affect their artistic performance?
Even if it has not been a public topic and is not yet fully recognized and accepted, the emotional state of musicians has been closely observed in recent years by researchers and therapists. Figures show, even before the pandemic, a worrying increase in anxiety levels, panic attacks and depressive symptoms associated with artistic performance. The European Union itself has turned its attention to this sector, publishing in 2023 an extensive report[1] on the health and well-being of professional musicians, demonstrating their susceptibility to various risk factors and encouraging the responsible institutions to pay more attention to education, prevention and treatment. The conclusions of the report also include examples of good practice from various countries, some of which were already initiated more than 15 years ago, and which are either offered in universities as courses on musicians’ mental and emotional health, or in the form of conferences, workshops and individual sessions. All these are aimed at addressing the problems triggered by performance anxiety, loneliness and social anxiety, stress and physical disorders, noise-induced hearing loss, sleep disorders, voice impairment and depression and are a confirmation of the urgent need to implement these initiatives.
There is a tendency to downplay the importance of such an approach. “Do I really need this” – a number of competitors might ask. “Wouldn’t I rather study or go for a cup of coffee in the meantime?” What would you tell them?
Studying is an essential part of preparation, but what do we do when the many hours of studying don’t pay off on stage due to an uncontrollable and overwhelming state of nervousness? Of course, coffee breaks don’t help either. I believe that any renowned artist has gone through a long and extensive process of searching and self-discovery, on how to cultivate a certain state of mind on stage. While I am answering these questions, the Paris Olympics are taking place in parallel, where I listened to the thanks given to the psychologist of David Popovici, the gold medalist in swimming. Every soccer team in Germany, even those in the third league, has a sports psychologist!
Also, very interesting is an interview with tennis champion Novak Đoković, in which the journalist suggests that, in addition to his gift as a talented tennis player, he is also gifted with an exceptional state of mind. Đoković strongly contradicts this supposition and says: no, this state of mind is also the result of hard work. Every top tennis player experience negative thoughts, but the champion is different in his ability to dispel them, says Đoković. One technique, he points out, is breathing. In most sports, adrenaline shocks can be transformed into high-intensity bodily actions, whereas the instrumental artist operates with fine motor skills, acting in a very sensitive system, such as the violin, for example. For this reason, the musician is dependent from the very first moment on a mental and bodily state as close to optimal as possible, in terms of muscle relaxation, avoiding an excessively high pulse rate and maintaining a clear mind, often busy memorizing the work. I also learned of a prize-winning quartet at the ARD Competition, who came to the competition, in every round, accompanied by their own psychologist. There is every argument that the time spent on this aspect of a musician’s life is an investment in oneself – and I say, with all my conviction, that it is just as important as the long hours spent studying the instrument.
Among the problems faced by many performers on stage, anxiety is certainly one of the most important, if not the most acute. How do anxiety and stage fright affect the emotional well-being of musicians and what techniques do you generally recommend to manage these problems?
My working sessions with musicians over the past few years have often shown me that many of them do not distinguish between stress, anxiety and stage fright. Time pressure, dissatisfaction and uncertainty seem to be described as “panic attacks”, anxiety and ongoing stress. I think it is particularly important to distinguish clearly between all of these and to notice – each best for themselves – when and how this “anxiety” is triggered. Emotion is something beautiful and natural, we are not robots, and it is certainly the unpredictable authenticity that will always distinguish us from them. It’s normal to go through various states of anxiety and restlessness, which intensify when one is aware of how much they have invested in the musical process. However, anxiety is unhealthy when it prevents them from conveying – technically and interpretatively – what they have set out to, and that is why it is important to learn techniques to regulate anxiety, to accept that it can accompany them in different ways and that it can also have a positive influence on the artistic act (especially because it is a manifestation of involvement, of lack of indifference!). It is important to try breathing and relaxation techniques not just when one feels anxious, but in a ritualized and natural way.
What about the stage fright? Is there a positive component of stage fright that can be speculated to help the musician?
Ah, I think we can befriend the stage fright. It is an adrenaline trigger, which many musicians say helps them play better, with the so-called flow.
Let’s also discuss the obsession with perfectionism, another element that can seriously disrupt one’s mood and emotional balance in general. “All-or-nothing” mentality, the need to be the best or at least at the top, and the enormous frustration when this doesn’t happen is a well-known reality. How does perfectionism contribute to musicians’ stress and anxiety and how can it be addressed in well-being sessions?
You can’t swim without getting wet, the artistic process is also the desire to pursue an ideal, but perfectionism must be differentiated (technically, musically) and understood as a relation to what we admire and covet. Working towards technical perfection is in fact work that serves something else, perfection is not for perfection’s sake, it is a process, and we must be careful not to lay down our arms in pursuit of an intangible perfection. In fact, we need personality, individuality and a deep understanding of music. “You haven’t played a single note wrong, but you haven’t played a single note right” – Arnold Schoenberg said to a student, and this illustrates the misguided pursuit of perfection, because of which we lose the essential.
Beyond the instrumental preparation, the mental one is also extremely important. What specific mindfulness techniques do you use in your well-being sessions to help musicians manage their emotions and stress? In the particular case of the George Enescu International Competition, how do you intend to interact with the competitors?
The mindfulness process, which is an exercise of heightened awareness, is based on 3 pillars: intention, attention and attitude; and in the well-being sessions I will use these pillars to harvest positive thoughts in gratitude and self-appreciation exercises. The mindfulness technique is accompanied by various forms of breathing and connecting in the present moment. Basically, we will experience an oasis of tranquillity, devoid of thoughts that are unsettling or doubtful, but through the power of positive thoughts to influence physical and emotional states.
We are basically talking about a completely different mental set up, about a different paradigm of approach, with the help of which one can reach the so-called resilience, which you write about in your study, “The emotional health of professional classical musicians”, published in 2022[2]. What does resilience actually involve and how do we achieve it?
Resilience is achieved through continuous practice, it is not just there by itself, ready to come to our rescue, it needs our intentional activation. I like comparing resilience to a muscle that develops through perseverance and intention. It does not aim to eliminate fear and anxiety, but to help manage it. What do I do when I feel unwell? When I am overworked and dissatisfied? I can stop for a moment and take a closer look at what’s going on in my life and what place my connection with others, my well-being holds, how healthy I am thinking and where I find meaning in everything I do.
Let’s not forget the keen sense of competition, instilled in musicians from a very young age. Comparisons with the stars of the international stage, with the masters of the past, with fellow musicians, the constant need to establish and prove oneself, all this creates a psychological burden that often proves toxic. How can it be balanced? Because, on the one hand, competitiveness is, of course, beneficial. But how can one find the right balance?
The imminent danger is that of comparison instead of aspiration. Of negatively weighing one’s own successes and failures against those of others who seem to come from an ideal, untroubled world. I believe that we must not stop learning about ourselves from ourselves, to be patient with our own process, to not relentlessly try to optimize time by skipping steps, thinking we are saving time. It is beneficial to limit the time spent with online social media not just for musicians, but for all of us, and perhaps introduce an exercise in honesty where we look at our own present and not others. In which we look at our own evolution, our own obstacles, but also our own resources. The beneficial process is that of self-discovery and setting our own aspirations.
Last but not least, a tricky issue is failure and how musicians relate to what they perceive as failure. For example, not making it to the next round of the George Enescu International Competition. What could be the solutions to deal with this kind of frustration?
It is quite possible that the experience of failure can be a great personal gain for someone, but this can only be learned by exploring the thoughts and states that remain afterwards. In the complexities of a musician’s career in the 21st century, one must also be aware that there are many other things required in addition to a competition prize in this career, and it is important to shift the focus from the frustration of failure to the next step of working with oneself. Reactions are individual and the need to manifest disappointment is real. I will also be there for musicians who have this experience of not making it to the next stage and we will have time in individual (and confidential!) sessions to explore the negatives and positives of the experience and look to the future with new perspectives.
My goal is to give every musician a variety of options to incorporate into their professional training – Interview with Anca Maria Cristescu
Anca Maria Cristescu studied at the National University of Music in Bucharest with flutists Vasile Ganțolea and Ion Bogdan Ștefănescu, and during her studies she was the laureate of numerous national and international competitions. In 2017, with the support of an Erasmus scholarship, she studied in Vienna at the University of Music and Performing Arts in the class of Professor Barbara Gisler-Haase. Following this experience, she decided to deepen her knowledge of chamber music at the same institution. In 2022 she began studying Music Physiology, Music Psychology and Mental Training for Musicians at the University of Music and Performing Arts in Vienna in the class of professors Coretta Kurth, Andrea Bold, Sabine Skopal, Alexandra Türk-Espitalier, Matthias Bertsch, Bernhard Riebl and Monika Weis-Danhofer. Currently, Anca Maria Cristescu combines this specialization with various projects focusing on contemporary music, improvisation, rhythm for musicians and theatre.
The stage, especially at a competition, involves a major dose of stress right from the start. What advice would you give to musicians preparing for major competitions, such as the George Enescu International Competition, on how to better manage their emotions and to improve their performance?
Every appearance on a stage requires a rigorous and systematic preparation process. Whether it is a concert, an audition or a competition, preparation should begin at least several months in advance, depending on the complexity and demands of the repertoire. In addition to intensive practice on the instrument, the musician needs to pay particular attention to other essential aspects such as nutrition (which should be balanced and exclude excessive coffee consumption, which can have a negative impact on performance) and mental preparation, which plays a crucial role. The latter can include visualization techniques, concentration exercises and meditation to help manage stress and improve stage performance. Rest and relaxation are also other fundamental components of this process. Allocating sufficient time for sleep and relaxation activities contributes significantly to restoring and maintaining the musician’s wellbeing, thus ensuring optimal performance on stage.
What are the most common emotions and anxieties you encounter in musicians on stage and how do you manage them in your sessions?
Most common, so far, are stage freezes and managing emotions. Many musicians have told me in my courses that they have been frustrated when, although they have prepared for a particular performance in advance, they are unable to perform on stage to at least as high of a level as they did during rehearsals. I know these feelings very well. It’s extremely frustrating to create great musical moments during rehearsals and, when you get to the stage, find that you have blockages or simply don’t live up to the level of expectation that you know you can achieve. In the workshops, I focus on identifying the sources of the problems that the participants encounter. In the first phase, we work together to uncover the origin of these problems, analysing the thoughts and fears that are behind these difficulties. Subsequently, we develop physiological and psychological exercises to manage stress and emotions. I am always pleasantly surprised by how each participant reacts differently to the proposed exercises. This diversity of reactions highlights the uniqueness of each person’s experience and the need for a personalized approach. Therefore, I challenge each participant to try all the exercises and to become aware of their body on the deepest level. Not only can this process help to identify and overcome blockages, but it also contributes to developing a deeper understanding of one’s own body and how it influences artistic performance.
Focusing strictly on competition, what does emotional well-being mean from a competitor’s point of view? How can aspects of well-being be integrated into a competing musician’s daily schedule?
I recommend that competitors create some kind of ritual in advance, both during and after the study. It is extremely important for the brain to be familiar with the information and states it will go through during the performance. It is essential for the performer to conduct on-stage visualization exercises several weeks before the event. They should be aware of as many aspects as possible, such as clothing, the way they walk on stage, the layout of the stage (for which prior research is necessary), the place reserved for the jury (if this information is available), the relationship between the artist and the accompanist and even their performance on stage. In addition to these visualization exercises, I recommend that each study session begin with a set of physical exercises to warm up the muscles and also oxygenate the brain. It is also recommended that during each break from studying, the artist should again do relaxation, stretching, coordination or mental relaxation exercises. I also dare to recommend avoiding using the phone and surfing social networks, as these activities continue to activate the brain in storing information, preventing it from having time to process and assimilate the information obtained during the study session.
You’ve mentioned a number of techniques that include a physical approach, not just a mental one. How do you help musicians become more aware of their bodies? Can they improve their posture or playing technique, for example? In other words, are there benefits that extend directly to the act of performing?
To help artists become more aware of their own body, I apply a variety of exercises, including body visualization, relaxation, eutony (a method developed by Gerda Alexander) and autogenic or progressive relaxation training techniques. All these techniques are tailored to the individual needs of each artist. In terms of posture on the instrument, I usually use specific exercises adapted for each instrument. Often instrumentalists try to adapt their own body to the instrument, but my goal is to help them adapt the instrument to their body. Together we look for an optimal position, according to each individual’s conformation, and then we adjust the instrument to fit that optimal position. It is important to note that improvements in posture on the instrument not only reflect in the sound, but also contribute significantly to the freedom of playing. Thus, the correct adjustments in posture can lead to a more expressive and, at the same time, to a free performance.
What would be the physical and emotional signs that musicians should recognize in order to realize that they need a break or a relaxation session?
Often, we are so focused on technique and instrumental study that we forget to pay attention to the other signals our body is giving us. I always recommend that after 30-35 minutes of study, there should be a short break of at least 10-15 minutes, during which each musician can hydrate and do some relaxation or stretching exercises. After this break and detachment from the study, the body and mind will be back in shape to record new information. Emotional signals are also very important. I recommend that when there is an intense emotional situation, to try some relaxation methods before studying on the instrument. Each person has different ways to relax: sport, walking in nature, dancing, yoga, reading, socializing, etc. It is essential to know our own needs and to know what resources we can call on when we feel emotionally overloaded. Among artists, because of their vulnerable side, episodes of emotional exhaustion are much more common than in other careers.
Breathing plays an important role in body relaxation, a factor that very few musicians are really aware of. How does correct breathing help control emotions and reduce anxiety while performing on stage?
Indeed, breathing plays an extremely important role in the performance of all musicians, not just for wind instrumentalists. The rhythm of the breath has a significant influence on the musical interpretation, affecting not only the agogics, but also the dynamics or expressiveness of the piece. Controlled and conscious breathing can improve phrasing, help manage tension and facilitate a more relaxed and natural performance. Correct breathing has a significant effect on managing emotions. When adrenaline levels spike, the body can experience adverse reactions such as trembling, rapid and restless heartbeat, sweaty hands, dry mouth, all of which can hinder artistic performance. Breathing exercises, such as diaphragmatic breathing or slow and deep breathing techniques, help calm the nervous system and reduce adrenaline levels, giving better control over anxiety on stage.
On the eve of major stage events, many performers forget to eat, even forget to drink enough water. Beyond emotional rebalancing and breathing, what role do nutrition and hydration play in maintaining an optimal state of relaxation and performance?
Healthy and balanced nutrition, hydration and rest are as important as the daily study of the instrument. I believe that these aspects are closely linked and there must be a proper balance between them to ensure optimal performance. Proper nutrition provides needed energy and supports cognitive and physical functions, hydration maintains vitality and concentration, and rest allows for recording information, recovery and replenishment of physical and mental resources. During performance, an artist needs a lot of energy and resources to perform at the highest possible level. In order to receive these resources, it would be preferable for the artist to have a balanced pace of life several months prior to a demanding experience such as a major competition or concert.
Can you give us, as an example, a specific exercise that musicians can practice on a daily basis to improve body awareness and reduce stress?
Meditation and sport are, in my opinion, the most accessible and easy to integrate into the daily routine, even during study breaks. Given that each person responds differently to stimuli, during the Enescu Competition’s well-being courses I will explore various relaxation, meditation and exercise techniques. My aim is to offer each musician a variety of options that they can incorporate into their professional training.
English version by Ana Lica
[1] The health and wellbeing of professional musicians and music creators in the EU, https://op.europa.eu/en/publication-detail/-/publication/35056e64-922f-11ed-b508-01aa75ed71a1/language-en, accessed on August 20, 2024.
[2] Angelica Postu, “Sănătatea emoţională a muzicienilor de muzică clasică profesionişti” [Emotional health of professional classical musicians], Musicology Papers, MediaMusica Publishing House of the Gheorghe Dima National Academy of Music Cluj-Napoca, 2022, https://musicologypapers.edituramediamusica.ro/images/Reviste/LM_2022-2_XXXVII-2_01_Angelica_Postu.pdf, accessed on August 20, 2024.