We all know that Elman, when he plays in public, moves his head, moves
his body, sways in time to the music; in a word there are certain
mannerisms associated with his playing which critics have on occasion
mentioned with grave suspicion, as evidences of sensationalism. Half
fearing to insult him by asking whether he was "sincere," or whether his
motions were "stage business" carefully rehearsed, as had been implied,
I still ventured the question. He laughed boyishly and was evidently
much amused.
"No, no," he said. "I do not study up any 'stage business' to help out
my playing! I do not know whether I ought to compare myself to a dancer,
but the appeal of the dance is in all musical movement. Certain rhythms
and musical combinations affect me subconsciously. I suppose the direct
influence of the music on me is such that there is a sort of emotional
reflex: I move with the music in an unconscious translation of it into
gesture. It is all so individual. The French violinists as a rule play
very correctly in public, keeping their eye on finger and bow. And this
appeals to me strongly in theory. In practice I seem to get away from
it. It is a matter of temperament I presume. I am willing to believe I'm
not graceful, but then--I do not know whether I move or do not move!
Some of my friends have spoken of it to me at various times, so I
suppose I do move, and sway and all the rest; but any movements of the
sort must be unconscious, for I myself know nothing of them. And the
idea that they are 'prepared' as 'stage effects' is delightful!" And
again Elman laughed.