Playing the violin exacts a significant physical toll on musicians, with approximately 60 percent of professional violinists and violists suffering from playing-related musculoskeletal disorders (PRMDs). This alarming statistic indicates that string players face a higher incidence of such conditions than any other instrumental group in orchestras worldwide. According to Dr. Cliffton Chan, a leading expert in performing arts medicine, this prevalence has remained high for at least the past two decades.
Understanding the Physical Demands
One prominent figure in the violin community is Madeleine Easton, a celebrated Australian violinist and artistic director of Bach Akademie Australia. Easton, who has an impressive international career that includes performances at significant events such as King Charles’ coronation, understands the physical challenges of playing the violin intimately. Often practicing for over six hours a day, she acknowledges that the instrument’s ergonomics are particularly taxing.
“Ergonomically, the violin is an absolute nightmare,” Easton states. She explains that playing requires turning the head, tilting it, and twisting the forearm—positions that can be sustained for hours. Dr. Chan echoes her sentiment, noting that professional classical violinists are sometimes viewed as “upper limb endurance athletes” due to the physical demands of their craft.
The nature of orchestral music means violinists frequently have more intricate parts than other instruments, leading to repetitive movements for extended periods. Easton emphasizes the necessity of relaxation while playing, as tension can exacerbate injuries. Historically, many violinists concealed their injuries due to the pressure of competition for jobs in the music industry. “No one must know or you’re not getting the next job,” Chan explains, highlighting the stigma that has long surrounded physical ailments in this profession.
Changing Perspectives on Treatment and Prevention
Treatment options for musculoskeletal pain have evolved considerably over the years. Traditionally, musicians might have been advised to rest or even switch to playing with the opposite hand—solutions that often curtailed promising careers. Easton recalls a time early in her career when she experienced thumb tension that limited her practice to only scales for nearly six months.
Lessons with her mentor, the esteemed violinist Maurice Hasson at the Royal Academy of Music in London, transformed her approach. He taught her to focus on muscle relaxation while playing, a lesson that has served her well throughout her career.
Today, Easton employs a rigorous physical conditioning routine that includes arm weights, yoga, stretching, and coaching in the ALEXANDER Technique—a method for improving posture. “In this business, we all need an external pair of eyes, just like professional tennis players need coaches,” she asserts.
Easton has also identified that female violinists face unique challenges due to the instrument’s shape. Many male players find the violin easier to position comfortably due to anatomical differences. “They tend to have shorter necks and wider shoulders, which allows the violin to slot under their chin more naturally,” she explains. Dr. Chan agrees that female musicians report a higher incidence of musculoskeletal injuries, although he emphasizes that success and resilience to injury ultimately come down to individual differences rather than gender.
Ongoing education has equipped modern clinicians to better recognize and treat injuries. “Most musicians are reporting their issues now,” Chan notes, highlighting a shift in attitudes towards injury management in the performing arts. This progress means that elite violinists like Easton are increasingly supported by practitioners who truly understand their craft and its demands.
Despite the physical challenges, Easton remains passionate about her art. When she finds the right alignment between her body and instrument, she experiences a profound connection that elevates her performance. “You’re so at one with the instrument; you can just close your eyes,” she reflects.
Easton is set to perform in The Art of Violin at the Utzon Room, Sydney Opera House, from September 26-28, and will also participate in The Brandenburg Concertos at various venues from November 14-16. Her dedication to both her craft and her physical well-being highlights the ongoing conversation about the importance of health in the arts.
