# In Conversation with Esther Abrami, the Instagram Violin Influencer with a Million Followers **Violy · People** “Violy · People” is a Violy interview series that sets out to speak with 99 artists from China and around the world, bringing fresh artistic ideas into conversation and exploring a world of art where feeling and spirit meet. Our guest in this edition is French violinist and well-known Instagram creator Esther Abrami, whom the original article introduces as having 1.4 million followers across social media platforms. ![Esther Abrami violinist, educator, and influencer & Larsen Aurora](https://static.lianmuse.com/image/blog/beb6445fddc4d2d1b81f625082c7ff1e.jpg) ## Esther: The Greatest Danger in Practice Is Not Slow Progress, but Forgetting Why You Started The original article introduces Esther Abrami as a French violinist born in 1996. Her first encounter with music came at age three, when she picked up a miniature violin given to her by her grandmother. As she grew older, she went on to study at some of the world's finest music schools. One of the most striking parts of her story is that she regularly posts videos of her violin playing online. With more than a million followers, she has become something of a “superstar,” helping many young people who had never listened to classical music fall in love with it. In connection with her China tour, Violy held an entirely English-language livestream interview with her, which the article reports drew 40,000 viewers. Listen to how someone who went from a small town in Provence to the international stage thinks about practice, pressure, passion, and passing music on. The following conversation has been edited from the interview transcript. References to “next month” and the forthcoming tour reflect the time of that conversation. Violy (question): For listeners meeting you for the first time, could you introduce yourself in your own words? Esther (answer): “Hello to everyone watching Violy. I'm Esther Abrami, a French violinist and composer. I've been performing for many years, and my career began while I was studying at the Royal College of Music. People first got to know me through the videos I posted on social media. I was one of the first classical musicians to use that approach. I'm now signed to Sony. I'm working on my fourth album and touring as well. Next month, I'll be coming to China for my second tour.” ![](https://static.lianmuse.com/image/blog/9107227f94dbfd80af1302ae537f8983.png) Violy (question): What impressions did China and Chinese audiences leave on you during your last visit? What are you most looking forward to this time? Esther (answer): “The first time I came to China was for an exchange at a university music school in Beijing. I had the chance to learn and to discover a little about Chinese culture and its musical culture. Later, I came for my first tour, which was incredible but also very tiring, because we had concerts almost every evening: travel, perform, then travel again. But it was so heartwarming to see that in a country like China, which I'd only visited a few times, people already knew who I was and what I was doing. Even though I can only say a few words in Chinese, music lets me go to any country and bring emotion to audiences, wherever they are and whatever language they speak.” Violy (question): How will this China tour differ from the last one? Esther (answer): “First of all, the cities on this tour are different. Beijing and Shenzhen might be places we're returning to, but this time I'll visit many new cities I didn't go to last time, which is very exciting. There will still be some film music in the program, but I've also added new pieces and works by women composers. Women composers are a subject I care deeply about. My previous album, Women, was about that, and I've also published a book telling the stories of women in music history, because we know so little about that history.” ![Esther Abrami: the feeling of music combined with the elegance of fashion](https://static.lianmuse.com/image/blog/ab04f8f62f438cd2a15bda414cbb2101.jpg) Violy (question): How do you see the state of the classical music market in Europe and North America today? Esther (answer): “I think it's certainly changing a great deal. Musicians today are expected to do more than play well and practice well; we need other skills too. The existence of social media doesn't mean everyone has to use it, but I think everyone at least needs to build an online community or a community around them. You need connections, and you need to know how to promote yourself and how to read a contract. That's how I learned when I signed my first contract. But we don't teach students these things. Even a basic understanding of law and contracts is very important for musicians.” Violy (question): Some theaters and orchestras are facing financial difficulties, or even suspending operations. Have you had similar experiences, and what do you think about this? Esther (answer): “It depends on the country. But overall, many theaters and orchestras that rely on funding are indeed struggling at the moment. I know a lot changed during the pandemic, and many orchestras and concert halls ran into difficulties. So I do think things are changing. That's all the more reason for us to work harder to bring more audiences closer to classical music. Grants and support are important, of course, but if classical music can become more sustainable, with enough people wanting to attend concerts, that will help the whole classical music sector.” ![Esther Abrami - YouTube](https://static.lianmuse.com/image/blog/62f50a85f3bf2e90b9ceea69fed78662.jpg) Violy (question): How are today's students different from students ten years ago? Esther (answer): “I'll start with the negative side, then talk about the positive. The challenge for this new generation is that, because of social media and the world we live in, everything moves so fast. I've heard many professors say that it's getting harder to help students be patient, to help children understand that you can't do something straight away: it takes time and practice. Students today are different from those ten years ago because the pace of our lives is completely different. The challenge is to help children understand that there is beauty in practice, effort, and time itself.” She added: “On the positive side, I see many children at my concerts, especially in France and Europe, and many young girls. They see me on social media and connect with someone they can follow and look up to. I also show many different sides of a classical violinist's life, not just practice but more fun things, such as choosing concert dresses. So today, more and more children, and more and more young girls, are being inspired to start learning an instrument. That's how social media is: it has a good side and a bad side.” Violy (question): When preparing for an exam, competition, or concert, how can students practice the act of performing onstage itself? Esther (answer): “One piece of advice I'd give students at every level is this: don't underestimate practicing performance itself. Of course we need to practice our instruments, and if we've had a good musical education, we'll know how to practice slowly and learn a piece through different exercises. But before an exam or performance, you must already have practiced ‘performing the piece.’ For example, when I have new repertoire or a new program, I would never play it for the first time at an important concert. Something unexpected always happens the first time you perform something. When you're nervous, you find out what stays with you and what disappears.” She said: “So practice performing. You can put yourself under a little pressure by recording yourself, doing a livestream, or asking friends to watch you play. There are many ways. You can even play through a piece when you're completely out of form, or when you happen not to have practiced, to see whether you can still remember it.” Violy (question): If a child doesn't live in a major city and doesn't have access to the best resources, how can they reach a higher level? Esther (answer): “One very important point is that we sometimes feel we're behind for all kinds of reasons. Maybe we come from the countryside and don't have the same educational resources as a big city, or maybe we started learning later. I didn't really start taking violin lessons until I was about nine or ten, which can be considered fairly late. But the most important thing is not to lose heart. You can make up for lost time. Starting late doesn't have to mean anything.” She recalled: “I used to be the best in my small town. Then I went somewhere bigger, to England, and became the lowest-ranked student in my class. But you learn far more in a place that challenges you than in a comfortable environment where you feel you'll always be the best. Challenges push you to work harder and move forward. So don't see this as a setback. It can even become an opportunity that makes you want to grow and practice more.” ![Esther Abrami](https://static.lianmuse.com/image/blog/336121f12a3772e4f5f0410d0877b311.jpg) Violy (question): How can parents distinguish between a child's own passion and expectations that the older generation is projecting onto them? Esther (answer): “When a child starts very young, it really is hard to tell whether it's the child's dream or the parents' dream. In my case, I was given a violin at three, but my parents didn't immediately start sending me to lessons. They waited until I said for myself, ‘I want to play the violin.’” She said: “I think it's wonderful for children to learn music, but you can also let them try lots of different instruments and activities. That makes it much easier to see whether a child has a spark for the violin or for something else. Give children a variety of choices and let them try. Maybe they're just curious, or maybe after trying something they'll realize, ‘I prefer what I'm doing now.’ But that way, you'll know whether it really comes from the child.” Violy (question): What do parents most often overlook during practice? Esther (answer): “Sleep is a priority. It shouldn't be underestimated. If we don't sleep well, we stop being healthy. Playing the violin is a sport, and practicing an instrument is a sport: it uses a great deal of energy. So treat yourself like an athlete. Sleep well, eat healthily and well, and exercise too.” Violy (question): How can students step back from excessive competition, anxiety, and the pressure to keep practicing harder just to keep up with everyone else? Esther (answer): “You need to understand your own rhythm and not be ashamed of it. Some people practice better in the morning, others in the evening. Some do well practicing for four hours straight; others need breaks. Don't force yourself to do something just because someone else does it that way. Find what works for you.” She said: “Practicing without engaging your brain is useless. We all know that sometimes we go into automatic mode because we're tired, bored, or for any number of other reasons. But if your brain isn't involved in your practice, you're better off going outside for a walk. We're all different, and we remember things differently too. Some people have a visual memory; others remember things by hearing them. Forcing yourself to use a method that doesn't suit you won't really work.” Violy (question): In a parallel universe where you had never picked up the violin, what would you do? Esther (answer): “I think I'd definitely still be in the arts. I love fashion, so perhaps I'd work in fashion. Or theater: I did a lot of theater at school, and I really enjoyed acting.” ![](https://static.lianmuse.com/image/blog/998004e33506c91cd98ce9a95273d2b3.png) Violy (question): What special meaning does your piece Transmission hold for you? Esther (answer): “This time, I'll be bringing my own piece, which is very special to me. I released Transmission, a piece I composed myself, on my previous album, and it was very well received in Europe. This will be the first time I perform it in China, so I'm very excited. I wrote it for my grandmother. It tells the story of music being passed down from her to me.” Violy (question): Finally, could you leave today's audience with a closing thought? Esther (answer): “First of all, thank you for inviting me and for hosting this conversation. It's been lovely to answer these questions. I'm very excited to come back to China and share more stories, especially about women composers, but also about my culture, French culture, French music, and film music. It's always good to be able to speak very openly about these subjects. I think it's very important to talk about them, not to close ourselves off but to have an open exchange. Thank you for listening, and thank you for inviting me.” The harshest and gentlest thing about practice is this: it won't give you answers straight away, but it keeps a record of every effort you make. AD The original China article described Violy as a music practice app for phones and tablets, with features including sheet music, performance audio and videos, AI error correction, and practice check-ins. It listed support for a range of instruments, including piano, strings, and winds. At the time of publication, the China article invited readers to search their app marketplace for Violy under its Chinese name, “一起练琴,” to try it for free. 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