“What I would like for my retirement gift is a few violin lessons.”  I could hardly believe the words coming out of my mouth.  For many years, resuming serious study of the violin was way at the bottom of my “to do” list; indeed, it was not on that list at all.  But with retirement looming, I realized that I wanted to try again.  Without the pressures of my corporate job, I would have more psychological energy to devote to this endeavor, as well as more scheduling flexibility to incorporate daily practice.  I had already picked my teacher, a soloist who had performed with the community orchestra to which I belonged.  Many others in the orchestra, young people nowhere near retirement, professionals who were at the beginning or in the midst of demanding careers that had nothing to do with music, somehow were able to make time to pursue active musical lives as well—taking lessons and studying advanced literature, performing regularly at their church or in solo and chamber music recitals as well as playing in the orchestra.  How in the world do they do it—and why? I wondered, as I struggled in to rehearsals each week.

The “why” is rather easy to answer—because of a passionate interest in and love for music, and because of the significant social, psychological, and even physical benefits that playing brings.  Leslie, an attorney and flutist who lives in Baltimore, MD, explains: “Music is so important to me. I love music and love making music. It is tremendous for me, my lifeline to sanity.”  Katie, a New York-based attorney who studied the violin all through college and later throughout law school and beyond finds that “It is a psychological release and uses a part of my brain that does not get used in any other context.  There is also a social aspect to the orchestra—meeting with other people and playing together.  Music is beneficial to the world in that it has a healing and uniting quality.  Chamber music is especially rewarding, as it combines intimate music making with others with the challenges of solo playing.”  Kathleen, an instructor at an Ivy League university, has discovered that “It complements really well my teaching and research work. It uses a different part of my body and mind. Even being able to get up from the computer, stand up and play is a welcome change of activity. It helps clear my mind of other ideas to do something that does not involve reading.”

The “how” is a little more complicated: it takes a concrete and intentional focus to pursue music consistently.  It is especially challenging to start again after a long break.  The effort and energy required, the risk of not being able to regain one’s former level of expertise, anxiety about being able to set aside enough practice time—these and a host of other concerns can hold one back.  The encouragement of family and friends is often key in taking the plunge. Leslie’s husband gave her a gift of flute lessons for their wedding anniversary. She started again and has never looked back since.  After many years of playing barely at all, I was encouraged, and even coached, by musical co-workers before getting up the courage to audition for a community orchestra.  Mary, a senior economic analyst with a Fortune 500 transportation company based in southeastern Virginia, kept postponing beginning to play the flute again after a two and a half year break.  A friend gently but persistently nagged her to join a local band, and soon she was back actively involved in the musical life of her community.

As challenging as it is to start over, it is even more daunting to start from the beginning as an adult.  Karen, a client relationship manager for a large international bank, began her study of the flute after graduating from college. Although she had studied piano throughout high school and had sung in her college choir, she had always harbored an interest in the flute.  Over ten years later, she is still studying privately and participates regularly in recitals at her music school. She finds that music has opened up a whole world to her that is different from her daily professional milieu.  “Now I’m aware of what is going on in the musical community.  I have a heightened interested in music, and when I attend a concert, especially an orchestra performance, I pay more attention to all genres of music, and how the flute plays into each. I try to support the music school where I study and encourage the younger students, attend concerts and recitals, and play in student recitals there. “

People often express regret that they did not pursue music more seriously when they were younger, perhaps abandoning the study of an instrument at some point in their school or work careers.  There is no need to live with these regrets! Find a teacher who understands adult students and who can concretely help you build (or rebuild) your technique.  Be realistic but constant about practice schedules. Whether you can work in practice four times a week or every day, if you are patient and persistent, results will come.  Dare to make music—or write poetry­—or take up watercolor painting. You will not only benefit yourself in myriad ways but will also be empowered to serve as a support to others who are striving to carve out creative experiences in the midst of other life responsibilities.

Alice Trimmer plays in the New York Repertory Orchestra.  Robin Zeh, her teacher, will perform the Nielsen Violin Concerto with the orchestra in May 2009.  See www.nyro.org for a schedule of concerts.