So there’s that orchestra thing I do, every Wednesday I lug my cello to Cal State East Bay in Hayward, dump fourteen quarters into a parking meter, and practice for a couple of hours. Our spring end of quarter concert is coming up next Wednesday, March 5th. We’re playing Prokofiev’s Classical Symphony, Brahms’ Variations on a Theme by Haydn, and Gluck’s Overture to Iphigénie en Aulide. 7:30 in the Music Building Recital Hall. Request your ticket online!.

A few comments about orchestra these last two months. Everyone else in the cello section who was around last quarter is gone. I was the sole cellist for the first three practices, then a ringer from the SF symphony and a high school student showed up. Ringer is gone, but I think he’ll be back for the concert. Meanwhile, it’s been me and the student, who is now the principal of the section. Roz probably thinks I’m annoyed at this, but she showed up and, while sight reading, played the music on the spot better than I after having practiced for three weeks, so .. yeah, she deserves to be there, I don’t.

Susan told me that I’m a cocky cellist based on the amount of practicing I’ve been doing (i.e: none). While I’m probably over confident in some areas, piano probably among them, I don’t think that’s true of cello. I feel like I’m slogging uphill, every step of the way. The Brahms Variations with its five flats in some sections proves that I’m still intonation challenged when it comes to any flats. G flat? Forget it. F sharp? Sure, no problem. Yes, I know it’s the same note, but put the G flat next to an A flat and suddenly I’m the guy playing sour notes in the lower strings. The one area I’ve realised some progress on: while I rarely pencil in bowings (there’s that cockiness again..), that’s partially because I can actually come up with sensible bowings on the spot, or at least remember them from week to week. I’m not at the level of deciding how to bow a phrase based on musical merits - don’t ask me how to bow the Bach Suites, please - but at least I understand that bar beginnings and sforzandos should be down bows, certain staccato phrases are probably easier up bow, and that the string sections should be more or less consistent.

Somewhere I picked up the habit of pencilling stars into my music. I wonder who I got THAT from, and how many stars of hers I ignored over the years.

I’ve been neglecting blog lately. Fifty hour work weeks, chamber music activities for the last three weekends (playing piano, not cello, even though two weekends were devoted to cello sonatas), plus family in town and the last thing I’ve been wanting to do is bang out a screed on the keyboard. Nonetheless here’s one to round out the second month of the year.