Jason Valendy

“Uncle Felix used to torture me with long notes, the most tedious, painful, boring exercise known to violinists all over the world. One note, sustained endlessly. No volume change, no variance, no vibrato. Babbo hated long notes almost as much as I did. The music room was on the other side of his library at the villa. One day I heard him heave a book at the wall after I’d been playing long notes for more than an hour. It ruined my concentration, and I stopped, falling just short of my record. Uncle Felix shouted, “You will never master this instrument if you do not master the long note, Batsheva!” I was so frustrated I yelled back, “And you will never master Italian if you only speak in German!” Babbo heard that too. And I was grounded for a week for my impertinence. I play my long notes when I’m alone in my room at the convent, and for the first time in my life, I’m comforted by them. I’m comforted by my ability to master that one continuous sound, though my arm aches and my spirit longs for music. Life is like a long note; it persists without variance, without wavering. There is no cessation in sound or pause in tempo. It continues on, and we must master it or it will master us. It mastered Uncle Felix, though one could argue that he simply laid down his bow. I wonder what the nuns think of this exercise, the long note that wails from my room, night after night. I would think if anyone understood the power of constancy, it would be the nuns of Santa Cecilia.”
― Amy Harmon, From Sand and Ash