The Mind Over Finger Podcast - 061 Violaine Melançon: Becoming a Well-Rounded Artist

Starting point is 00:00:00 You're listening to the Mind Over Finger Podcast, Episode Number 61. Welcome to the Mind Over Finger Podcast, discussions on mindful music making, efficient practice, and building a purposeful career. And now, your host, Dr. Renée Paul Gaultier. Hi, everyone. I hope you're doing great. I'm really honored to have violinist Violenne Melançon on the show this week. Violenne is Associate Professor of Violin at the Schulich School of Music at McGill University in Montreal, Canada, and serves on the violin and chamber music faculties of the Peabody Conservatory. For 30 years, Violenne was the founding violinist of the Peabody Trio, which was ensemble in residence at the Peabody Conservatory,

Starting point is 00:00:57 and performed extensively around the globe. After receiving first prize in violin at the Conservatoire de Musique of Quebec in Canada, Violaine continued her studies with Ivan Gelamin at the Curtis Institute of Music, with Isidore Tenkoman at the San Francisco Conservatory, and with Arthur Grumiau in Belgium. She's the recipient of many awards, and her activities as a chamber musician, soloist with orchestras, and teacher have taken her to major music centers in the United States, Canada, Europe, the Middle East, and Japan.

Starting point is 00:01:29 Violin has participated in many summer festivals as violinists, teacher, and guest artists, including those of Tanglewood, Ravigna, Skenetilis, Rockport, Orford, and Domaine Forget. She gives yearly master classes at the Green Mountain Chamber Music Festival and teaches regularly at the National Orchestral Institute and Festival and has served on the faculty of Yellow Barn. Violin maintains an active solo career, and her performances can be heard on the Naxos, Artec, CRI, and New World Records labels. She has a special affection for the music of today, and is a serious interpreter of

Starting point is 00:02:07 works of Georgi Kortag, Mauricio Kegel, and Zoolang. The Israeli composer Shlomit Ron wrote a violin concerto for her, and she has premiered several works by other leading composers. In this episode, Violen helps me answer your questions about the skills young musicians need to develop to become well-rounded artists. We discuss Violen's views on the importance of fostering curiosity and creativity in the learning experience, why we should learn to develop and trust our ear, how versatility enhances our playing and opens doors in the career, how and how long to practice, the

Starting point is 00:02:46 importance of having a good balance between routine, consistency, and variety, why we should find a way to be inspired every day, and much more. I think this will go down as one of my favorite episodes. As you'll get to hear, Violin is an artist of great depth and a dedicated pedagogue with wonderful wisdom and empathy. I think you'll resonate strongly with her message, and I know that you'll walk away from this interview inspired and motivated. Let's go to the show. Violaine Melançon, it's such a great honor to have you on the show today. Oh, thank you. The honor is mine. Very happy to speak with you. You have such a rich career performing and teaching at the university level, teaching in many summer camps.

Starting point is 00:03:44 And when I was getting so many questions from listeners about succeeding in college and what they would need to learn and the skills they would need to acquire to be successful in the music career, I was thinking about you right away. So I am so glad that you accepted my invitation and that we're chatting together today. Great. So I'd love to hear a little bit about your musical journey. So would you please begin by telling us a little bit about you and how you got to where you are today? Oh, that's a long story. I'm French-Canadian and I did my course at the Conservatoire in Quebec City. and after I got my prize I went to the Curtis Institute in Philadelphia where I did my

Starting point is 00:04:34 undergrad degree and then I decided I wanted to go very far away from the east coast I wanted a completely different experience so I was either going to go to Europe to study with Sandra Vague or moved to San Francisco to study with Isidore Tenkelman. And I was drawn to him because my two favorite players at Curtis, my colleague, classmates, were students of his. And they had the creativity and the freedom in their playing that really attracted me. So I went for a trial lesson.

Starting point is 00:05:13 And to tell you the truth, I fell in love with the city first. i really i really love the city and you know in the late 80s san francisco was just just marvelous and still not very polluted i had never seen colors like that and it took me only two or three lessons to fall equally in love with izzy tinkleman and it was a wonderful place to do graduate work and that sort of was the end of my formal studies although i continued to coach in my piano violin duo and in my trio with marvelous musicians, especially pianists like Gilbert Kellisch and Leon Fleischer. So my studies and professional life coexisted for a number of transitional years

Starting point is 00:06:05 until I was, I guess, weaned, although we were never really weaned. We learned from each other all the time. Yes, that's for sure. I love that you're talking about this creativity and the freedom of your colleagues that kind of led you to this teacher, because that's definitely an aspect of, you know, one of the first career choice we make, who we're going to study with. Right. Yeah, it's very important. I mean, it's everything. When I was in Philadelphia, there was a lot that I got from being there. I would say mostly wonderful music and great orchestra experience. In terms of lessons, I had had such a superlative teacher in Quebec and a very close personal relationship.

Starting point is 00:06:57 So I felt a little bit lost in that regard when I was in Philadelphia. And I felt that I very much reconnected with that in San Francisco. And many people said when I left, oh, how can you go from Curtis to the San Francisco Conservatory? And it was one of the best decisions I've ever made because, as you said, the teacher, who your mentor is, and the sort of growth that you'll do is your first passport to success in school and beyond. And to me, it was a perfect transition to being a professional. It was just a perfect fit. And that's what people should look for is what fits with them and where they will grow the most. Yes. As a violinist, I'm a little personally curious about what in his teaching was a quality that was able to bring out this creativity and freedom you were talking about.

Starting point is 00:07:57 Well, he was a very direct person. And his expectations, I guess, his expectations were that we would be searching musicians. And if we did not bring things with a lot of creative ideas, you know, he wouldn't do the work for us. He would send us back home and tell us to bring it back when we had something to say about it. He was also somebody who taught violin in a way that centers around the ear. It may seem obvious, especially for non-musicians, like what does that mean? But we get often as instrumentalists so concerned about the very complex task of playing a musical instrument. I mean, there is so much to think about at the same time, so much to master in the way we move, in the way we understand music, that sometimes we actually forget to listen. We start playing by repetitions, by physical memory, by recipe, you know, applying concepts to the music rather than really entering in a conversation with the music and letting that dictate the technique. So he sort of, you know, turned the whole experience of performing music on its head for me.

Starting point is 00:09:35 And I became much more in the moment when I played, more spontaneous, more honest, more able to take risks. One of the techniques he used, for instance, would be to ask out of the blue at the end of a lesson, okay, so now play, you know, X, Y, Z concerto, play the first movement. And I would freeze in panic and say, well, we last worked on that six months ago or a year ago or whatever it was. And he said, well, can you hear it? If you can hear it, then you can play it. So go. So I realized doing that, that actually, if you trust your ear, you can do so much more.

Starting point is 00:10:25 I mean, it might not feel familiar to the hand at that moment. But if you can hum everything and your ear knows how to tell your finger to go a certain place, then you can play it. And you would say, you know, it's all great to practice a thousand hours before a concert, but that's not really realistic in the professional life. You might be asked to replace somebody in a concert, somebody who's sick, And you might have just a dress rehearsal or, you know, you want to be able to say yes to to opportunities that come. And that simple exercise went a long way to make me believe that I that I could.

Starting point is 00:11:14 He would also give, for instance, an extremely complex curriculum of technique, you know, like specific scales and exercises, a huge list. And then he would say, okay, well, 30 minutes a day, no more. And I would look at him like, how am I supposed to do that? He said, well, you know, if you can't get it all done the first day, you'll concentrate and listen better the next. So he taught me that if we really aim in the ear, if you imagine and you aim, and then you give yourself not a thousand chances, but you have to really concentrate to really try to do it the first time.

Starting point is 00:11:55 If you're successful, then don't repeat it until it actually fails. Leave it while it's successful and go to something you actually cannot do. So much of practicing has wasted time doing needless repetitions of things that we do well. If you concentrate only on what you cannot do, you'll be a lot more efficient in your practicing. So he was just very supportive. He had great belief in the power of listening. And he was also a genius at solving physical problems. So that allowed us to do better listening, more direct listening as well. Wow, there's so much wisdom in what you just said. And he sounds like an incredible teacher. And I'm sure his legacy lives through you. This is so incredible. And I absolutely love what you said about him wanting you and his other pupils to become searching musician. I love that term so much. I'm going to have to start using it because it's at the root of everything. It really is. I mean, speaking of, you know, we're trying to talk about things you need to learn in college that would help you become a successful musician. This is it. Become a searching musician.

Starting point is 00:13:14 That's right. You know, curious. But I would say I was thinking about the topic a little bit today. I would say it's not so different from any other field. In other words, if you're a curious person, and you give yourself a chance to experience every aspect of music, I mean, in the old days, you know, there was this pecking order. If you're great, you become a soloist. If you are a little less good, but still pretty good, then you can do chamber music. And if you're, you know, not quite as good as that, then you can teach. And then after that, sort of forget it. And it's sort of silly model, I mean, for any era, but certainly in ours where we need to be able to do many things. Economically, it's not possible to be, for instance, a long-term chamber group without a residency. So without a component of teaching, it's not really possible or very rarely possible, I would say very rarely possible to do only, you know, a solo career. I mean, most soloists also do chamber music, even if it's, you know, a secondary thing. It's certainly and it'll make them better musicians if there are also great chamber musicians. But it's, you know, it's great to be able to do contemporary music.

Starting point is 00:14:42 It's good to have a Baroque bow and to know the ABC of performance practice. It's good to be able to be a leader in a large ensemble and a small ensemble to have, you know, chamber music experience. Teaching is one of the best way to learn yourself because you're constantly confronted with new problems and recipes don't work for everybody. So you have to try to understand people in their context. and you know so so in college is the same thing the most skills you can gather the more interesting you'll be and you know as a byproduct the most employable also but you know if you're playing is is shines in all these ways if you're interested in in music history and theory and how to apply that to your playing then you know you'll be busy you'll have interesting projects and you'll

Starting point is 00:15:42 be busy yes absolutely it's as i often say that each student needs to take ownership of their learning experience because there's so much that they can experience in college if they have this curiosity and this interest that you're talking about yeah and you can really shape your own experience regardless of where you are. Yeah, absolutely. One thing worries me a little bit about the college experience nowadays. I mean, there's a lot of pressure economically on the youngest generation right now. And people feel, how can I put it, they're bombarded with words about being it's important to be an entrepreneur and to be relevant and i wholeheartedly agree with this except that it's important to keep a sense of proportions in other words you can be a good

Starting point is 00:16:42 entrepreneur if you have something to sell and you know you're you're playing is your first asset So, yes, play music that's relevant. Yes. You know, speak to the audience when you go. Yes. Be involved in a community. But let's not forget the practice part. You know, the part that's experimenting in the practice room, in the lesson, in front of your peers in studio class, places where it's safe to take risks and to try ideas and to try new ways of playing in performance. so sometimes i feel like um people get so anxious about making a living that there is no time left for the the contemplative process which is to how to be creative with your instrument i apologize for the dogs somebody's coming home i tried to go as far away as i could in the house but not far enough i love everything that you're saying and i agree with you this is very prevalent nowadays and

Starting point is 00:17:58 yes exactly like you say you have if you want to sell a product you need to have something that's very high quality to sell and you know it's i mean it's human nature right to swing from one extreme to the other i mean the days where you know people um i would say the culture where it was encouraged to practice five to eight hours a day and not have a social life and and to do big competitions and then maybe you deserve a career i mean that's that's an extreme and that's silly and that's not very that doesn't promise you a life in music and certainly not a happy one But to be swinging on the other side and to be so anxious about the entrepreneur and marketing end of things, that's sort of going too far the other way also. So, I mean, it's interesting about the, I heard myself say, practicing eight hours a day.

Starting point is 00:19:00 That was one of the things that drew me to Mr. Tuchman. He asked me in my first lesson, Mr. Tuchman was my teacher in San Francisco. He asked me in my first lesson, so how much do you practice every day? and you know i had been to curtis and there was this myth that oh yeah we all practice five hours i'm already pretended i think even the teachers pretended that they used to do that but you know so there was this this this uh fake news that everybody was practicing five to eight hours a so of course I lied so my answer was oh uh you know five hours a day and I couldn't do more on the weekend and he looked at me just saying are you for real I mean what is this so he said well

Starting point is 00:19:53 if this is what you do you're gonna stop and three hours three hours every day if it's a very bad day where you have a lot of classes and papers to work two hours you plan it in your schedule and you if you need to put the hours 7 30 to 9 30 in the morning that's what you do you stay up that day that's what you do but never less than two and when you have tons of material to learn maybe four hours but if you do much more than that you know you won't be practicing efficiently you won't be concentrating creatively said you can play more hours but individual practice three hours I'd be happy. So that was a real challenge for me to be actually, um, three hours is actually a long time. If you really practice, you can get, you can get a lot done. And he was so clear in

Starting point is 00:20:49 what he wanted us to do. You know, there was this half hour technique of technique. Um, I had to learn two etudes perfectly every day, every week. So I had to bring two perfect etudes in the lesson. we only had an hour so you couldn't waste a lot of time on going over these things and then the rest on repertoire so um two hours on repertoire half hour on technique and half hour on etudes and it just really taught me to listen and maybe the moment where it became the most important was when I became a parent because however busy we think we are in school it's nothing compared to trying to have a professional life and to be a parent so being able to listen and trust my ear and the work that I've done and be really present mentally is what carried me through

Starting point is 00:21:48 my career. Yeah, this is, this is the essence of it all. As I've already said, I'm using that expression a lot. Yes, absolutely. And it's so true that three hours goes by very quickly when you're focused. And I'm sure you're not talking about three hours from the moment you enter the room and start putting around and three hours of intense work. And you know, you should give your brain you know a break or two in there but uh yeah three hours of concentrated one of my students once decided to put it to the test and she would put a stopwatch and stop the watch every time she went for water went to the bathroom or you know said hi to a friend she realized how much work it was to do three hours every day you know but then it's honest you don't pretend that you're

Starting point is 00:22:43 doing six hours and you don't you know and if you want to mr dickman used to say and then go have fun go learn something else so then you'll have something to say in your playing and you won't be sick of it you know you won't uh you won't start hating it it's important to love it it's demanding and to have this balance where we're being nourished by other things and culture yes friendships yes yes all of these things what else do you think is is an important part of growing as a young artist um well i think serious ensemble playing is absolutely necessary because that's where your skills are really put to the test and your colleagues in ensembles will teach you i mean together you'll be exploring such a vast and endlessly interesting and inspiring

Starting point is 00:23:48 repertoire and you will be confronted with ideas and sounds and ways of phrasings and just approaches that you would never have dreamt of i mean however deep and wide we try to be we're sort of trapped with who we are and if we can um encounter other ways that's the surest way to remain inspired and alive in your music making this is really great i know how important for me summer festivals were and i know that you teach in summer festivals can you speak to that a little bit yes certainly and actually summer festivals are equally inspiring for your colleagues as the you know your mentors and on the other side to be a mentor and you also become a student during the summer there um i've taught in several wonderful festivals one where i

Starting point is 00:24:58 was for 30 years was the yellow barn music school and festival in vermont and there like in several other places but it's one of many festivals that has a model of faculty and participants performing together in groups i would say the half to a little more are our mixed group and you know it's one thing to talk about things but to have to make sure that you put it in your playing you have to put yourself on the line and it makes you a more compassionate teacher if you only teach and don't play i mean sometimes you don't have an option but for those who can play and decide not to i find it for myself it's easy if i don't play enough to um lose that empathy to start becoming not too demanding, but not sympathetic enough at the difficulty of what

Starting point is 00:25:58 we're asking the students to do. But if there's too much playing and not enough teaching, then somehow you may be not present enough to your students' needs. But let me come back to the Chairman's Week Festival issue. It's just that it gives such a, you know, it's like the genetic pool gets stirred up a little bit even if you have a you know an ensemble that's your life you know being in a trio or in a quartet that's serious it's important to go out and play with other people to meet other students to be in a place where actually you can be contemplative because they're not this demands of everyday life you don't have to commute you don't have to cook meals the responsibilities are basically to be creative and helpful musician and mentor and

Starting point is 00:26:52 performer and that is so inspiring it's like putting um you know like boosting yourself for the rest of the year you can sort of ride on that high and you know if you look at the experience that the students have it's often life-changing people can make as much progress in one summer session as they do in an entire year and then carry with them treasures that will you know propel them forward in ways that they had not thought of and even if they hear things they've heard hearing it from different mouths sometimes does the trick that's so true yeah so very well Well spoken. You know, something you just said made me think because I was discussing today about that very same topic about how much I learn when I teach. And I was advising my college students to actually start teaching themselves if they have the opportunity to start mentoring younger students. And I love that you brought it up because I strongly believe that I think the words that I use is that for sure you don't want to represent yourself as more of a teacher than you are.

Starting point is 00:28:06 But even if you're just a few steps ahead of someone that you're trying to help, you can bring value to them and in the process, help them and also learn so much yourself. Yeah, absolutely. And it's funny because when you're teaching, you're, I would say, supposedly or often in a position of having a greater experience, let's say, a bigger, longer, deeper experience than the students. But when you play music with others, that is true also, maybe to a lesser degree, but there are always people that are better at this and that musical aspect than others within a group, always. and so you'll be sometimes in the mentoring situation in the chamber group you know a more leadership position and within the same group you'll switch hats and you'll be in the more receiving observing learning being inspired position so it's really rehearsing and teaching are not so different, and learning to teach will make you a better rehearser, and being a good rehearsal will make you a better teacher.

Starting point is 00:29:24 It's just to be able to listen and articulate what you hear and to problem-solve, you know, how to be helpful. If you're a generous chamber musician, you want to play in a way that makes the group sound its best, not yourself. I mean, you want to sound good too, but sometimes we have different musical choices where, let's see, my part as first violinist in a Haydn quartet could sound great in many different tempi. But if I take a tempo that's a little slower, it might completely sabotage the cello part. So that's not empathetic, and empathy is the essence of teaching also. So it's really sort of different manifestations of the same necessary qualities, I think.

Starting point is 00:30:18 I love that. Violaine, do you have a favorite tool in the practice room? A favorite tool? I like being able to practice every day, which I can't always right now because of, you know, the other demands of my professional life. So regularity is a great tool, I would say. not falling too much into routine i would say to try to approach the same work different ways on different days so you're not going into a road situation and trying to almost practice as if you were your own most talented student you know so you're you sort of you're listening and you

Starting point is 00:31:05 really want to help this person but you happen to be the person but it's it's i guess to to have that little cushion of objectivity where you you try to inspire yourself but you try to also be very honest about what is actually coming out not what you wish to come out but what is truly coming out and listening is difficult it is difficult yes that's for sure yes and is there a habit that you have that you think contributed to your success no no i don't think about my success i don't think in those terms i mean i would say that maybe what is my main engine my main motor is curiosity so curiosity in new ways of solving issues curiosity in anything physical that will

Starting point is 00:32:06 help um you know if it's good for health it's good for your body which then is good for your playing um so i i stay very active physically and i'm currently incredibly in love with yangar yoga and that certainly has taught me so much about posture and I um you know when I started doing yoga seriously in my mid-40s I had always been told that I had a good posture so I actually believed it until I did yoga then I realized how that also is an endless path it's you know you You just go in many directions and you try to just keep going forward. And there's always a way of doing posture better and doing quiet better and to do awareness better.

Starting point is 00:33:01 And all of these things are helpful in the playing. I'm curious about repertoire. I'm interested in music of all periods. I just bought last month my first Baroque bow. and um i'm i'm giving my well my first let's say duo performance at with baroque violin at 4 15 i know it's not a you know anything heroic but for me it is it's it's a completely new experience so um i'm presently working on all the bach keyboard and violin works with uh my colleague at McGill, Ilya Politaev, who's a pianist, harpsichordist and fortepianist. And

Starting point is 00:33:49 we're doing half of them on piano, modern violin and baroque bow, and the other half on harpsichord, baroque violin and baroque bow. So that's extremely exciting for me. It's completely new and I'm learning a lot. That sounds wonderful. Violaine, you've already given us so much wisdom, but what are some maybe additional pieces of advice that you'd like to transmit to your students? Diversify, be curious, find out if there's a contemporary ensemble,

Starting point is 00:34:25 try it out, try things that you think you will not like, take a pedagogy course, try teaching, go visit the performance practice area, you know challenge yourself do competitions and auditions as investment for your own future not for um winning as the only worthwhile goal but as a way of of learning how to do these things and how to get better at them and um in terms of i'm going to talk about marketing a little bit i like to think about everything in a more human way otherwise it just depresses me so um you know we're we're members of a large community first of all realize that the people

Starting point is 00:35:18 that you're in school with are going to be your colleagues 20 years 30 years hence so work with people get to know people be kind to people when you rehearse as you want to be treated because it circles around I mean you're going to encounter the same people again and it's good to have positive feelings you just never know when doors will open simply because people remember having a you know fondly having a musical experience with you and keep in touch with your mentors people I mean first of all we like to excel and know how our students are doing but also because um you know memory is a funny things and and if you don't know the wonderful great things that your students are doing presently and people tend to go to

Starting point is 00:36:15 what they've last heard so we think of the people that have been in touch with us you know not like oh you know 25 years ago she was really talented wonder what she's doing it's harder to recommend people for opportunities if you're not in touch with them so not in a crass way but in a wonderful human way let people know of the good things you're doing you know stay in touch stay interested and people will think of you and i would say um also on the flip side of marketing do things to do them to gain the experience because you never know what things that are more tied to making a living will come out as a result of that one example when my trio the Peabody trio was just started we were asked we lived in Baltimore Maryland we were asked to give a noontime free

Starting point is 00:37:12 concert in Boston and that concert had been offered to students who had rejected it and You know, we were young faculty, but we were more living like students than professionals. And we got into our old Datsun and we drove all the way to Boston and we played our concert. And that concert happened to be recorded. And that recording was played, deemed good enough to be played on public radio. And then some guy heard it and his brother happened to be manager of a well-respected agency in San Francisco. And they contacted us. And that's how we got our first manager, by saying yes to free time, free noontime concerts in the city very far away from our own. You know, that's sort of an extreme situation. But sometimes I see young people thinking, well, I don't know, I can't afford to do something for free. And, you know, define free. You just never know who you'll meet and who will hear you.

Starting point is 00:38:19 And it had an interest artistically in that it was a decent hall, and it was a full program, and we needed experience in performing our music. So it was worth it for that, certainly not for the finances, but then it gave us a path to actually making living as a trio. So it's important to remember. Absolutely. Before I let you go, do you have a quick actionable tip that the listeners could implement today in their practice room? find a way of being inspired every day if it means that you're really um you have a blank head and you're not feeling like practicing go listen to a beautiful recording and then you'll be excited go to concerts go to concerts many musicians don't go to concerts anymore don't don't forget why why you're doing what you're doing what got that fire going in the first place and keep it alive. Violaine Melançon, thank you so much for taking the time to sit down with me today

Starting point is 00:39:27 and sharing your wisdom and your enthusiasm with us. You're very welcome. Thank you for contacting me. Thank you guys so much for listening. I really hope you enjoyed this conversation with Violenne Melançon. To find more information about her, visit ViolenneMelançon.com. Like I said in the intro, I think this is one of my favorite episodes on the podcast. What a thoughtful, wise, eloquent, and kind person.

Starting point is 00:40:06 Over the last 18 months since the show started, so many of you who are entering the professional life have asked me about the many skills needed to become a musician and what one should do to acquire them. And I think Violin covered that topic beautifully. I really resonated with the concept of being a searching musician. I think that sums up pretty well the attitude we need to have to keep growing as an artist. And it's something we should always aspire to in our practice, to be inquisitive, curious, to keep exploring, learning, digging deeper, and to keep nurturing the thirst for knowledge and the enthusiasm for meaningful music making. I also think that what she said about empathy is extremely important because the music making experience can

Starting point is 00:40:59 be so much more rewarding when we are kind and respectful colleagues and teachers and when we're surrounded by them. I would love to know what your favorite takeaways from today's conversation was. So please get in touch with me. I am Mind Over Finger on both Instagram and Facebook. And of course, you can find me at mindoverfinger.com, where you can read the show notes, find more information about mindful and efficient practice and performance preparation, and sign up for my newsletter to be the first to know about special trainings on practicing that are coming up this spring and to receive your free guide to a super productive practice using the metronome. Also make sure to visit my resources page at mindoverfinger.com slash resources, where I've put links to all my

Starting point is 00:41:47 favorite tools and the books mentioned by my guests here on the podcast. And if you're looking for a community of mindful practice enthusiasts, join the Mind Over Finger tribe. That's my private Facebook group where I pop in once a week to talk about mindful practice and answer your questions and where you can exchange with fellow musicians about practicing and music making. So join the tribe at facebook.com slash groups slash mindoverfingertribe. And as always, I'll have all those links for you in the show notes. That's it for today. Remember Violin's advice to find a way to be inspired every day.

Starting point is 00:42:23 Again, thank you and à bientôt. Thank you.

The Mind Over Finger Podcast - 061 Violaine Melançon: Becoming a Well-Rounded Artist

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