Sharing

One thing I love about the Internet (hello, Internet!) is that it's good for sharing stuff with millions of people you've never met.

Allow me to share some music with you.

I discovered Philip Sheppard almost exactly two years ago. He's a cellist and a very talented composer. I used to have his MySpace page open while I worked on other things so I could listen to his posted tracks on an endless loop. I got other people hooked, too, muah-hah-hah.

Now he's posting more and more tracks, some free to download as mp3s, others embedded within his web site. As a start, visit this page to listen to a selection of his haunting piano pieces. A handful of free mp3s for download can be found here. There are other embedded pieces of various styles scattered throughout the site's pages, too, as well as a free download of sheet music for his lovely Crystallized Beauty theme, arranged for two pianos.

Enjoy!

@PhilipSheppard
Radiomovies (Philip Sheppard's official blog and web site)
Philip Sheppard's MySpace page


* The original post at Owls' Court
* Owls' Court: the main journal

Ongoing

I read pretty much the entirety of Perri Knize's Grand Obsession in one day. It was fabulous. I was worried at one or two points that it was going to veer a bit too far into the mystical (and coming from me that's saying something) but it righted itself in time. After all, how do you define how music affects us? It's a twofold story about a woman deciding to study piano in middle age and buying one, then trying to understand what the personal connection to a specific instrument is (not violin or cello or piano, but one specific example of the chosen instrument), and an exploration of how pianos are built and maintained. Really engaging and quite enjoyable.

We had our second rehearsal with our third guest conductor, and I enjoyed it even more than the first. He's good. There is a problem with his voice carrying to the back, but he's terrific in his bilingualism, and his musicality and his interaction are fabulous. He knows exactly what to work to smooth out problems, and how to phrase what he's looking for. We've added Grieg's Norwegian Dances to the programme, and (hurrah!) Vaughn Williams' English Folk Song suite. Of course, the Vaughn Williams starts in A-flat major (F minor? no, pretty sure it's Ab) which is four flats, augh! I have enough trouble remembering to flatten my As, and he wants me to flatten my Ds as well? But it is Vaughn Williams and I am over the moon.

Also in cello news, while I was working on some ensemble stuff earlier this week and trying to isolate why my intonation was unstable, my left elbow kind of said, "Oh, I've got it," and moved a millimetre or two forward on the horizontal axis, all on its own. And it solved the problem. I was amazed and very grateful to it. Perhaps the next time I have a problem of some kind I shall consult it.

I've had a series of excellent cello lessons with small but significant breakthroughs like that over the past couple of weeks. Of course, there was also that monthly group cello lesson where we worked on ensemble pieces for the upcoming recital. For some reason I couldn't get comfortable with the length of my endpin or the angle of my cello. I blew stupidly easy shifts while playing solo (naturally). Moral of the story: Revisit your ensemble pieces regularly, even if the last time you played them they were easy and note-perfect. I am appropriately humbled.

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* The original post at Owls' Court
* Owls' Court: the main journal
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First Rehearsal With The New Guest Conductor!

First rehearsal with the new test conductor last night, and what fun. He had us playing the Schubert passably in pretty much no time at all. He's younger than I thought (by quite a bit) and an oboist. We were missing an oboe so he pulled his out and wandered around playing the oboe theme while conducting. It was mildly alarming to have an oboist wander at you at various points, but it certainly encouraged each section to play out when they were supposed to. He greeted us in French and talked to us equally in both languages, which impressed us. I already like his musicality and his personality. There were grumpy people making their grumpiness known, but that's not unusual, alas.

Best news of the night: One of the pieces he's considering programming is Ralph Vaughn Williams' English Folk Song suite! I bounced in my chair with excitement. (Otherwise I sat there in mild pain, because the particular chair I was in slanted nastily toward the back. Ugh. Time to look into one of those firm wedge cushions.)

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* The original post at Owls' Court
* Owls' Court: the main journal
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In Which She Chatters About Cello Stuff

It's confirmed: we're trying out a third conductor tonight! And I am very happy because there was a bit of kerfuffle about memberships dues not covering what this conductor requested as his fee, but the majority of members were okay with paying a supplement to obtain his services for this concert. If we decide he's the one for us then membership fees will go up, and I'm perfectly fine with that; we pay a ridiculously low fee as it is, and more than doubling it only brings us to ten dollars per month the orchestra plays each year. If he's as good as his reputation suggests he is, we'd be getting a real deal. Also, audiences would increase because of his affiliation with other musical events and organisations, and our recruiting of new members would also increase. There's a lot of potential here.

Apparently we are playing Schubert's third symphony as the main course for the July concert. So naturally, while looking for audio reference, I discovered that I own only the first, second, and fourth symphonies. I went away and thought about it for a while, then remembered that I'd bought a full six-symphony set the last time we did a Schubert symphony (the fifth?), because the set was less expensive than a single CD with the fifth on it. I had to hunt it out, though. It wasn't with my other Schubert CDs. I blame the boy, who used to pull CDs out and then reshelve them in interesting new places. I checked my records and apparently I've played Schubert's third before. I have no memory of it, but then, it was in 2003, which was six years ago. However I played it then, chances are rather good that I'll play it much better now.

I am so very excited to be working with this conductor.

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* The original post at Owls' Court
* Owls' Court: the main journal
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Good Celloing

I just had an hour-long rehearsal with my duet partner that went quite encouragingly well. I recorded the session with the MiniDisc, and have now spent an hour struggling with the transfer. The first time I had the levels set too high so the bass warped everything. The second one I did was too low and had odd clicking/crackly sounds throughout it. Third time's the charm, yes?

Beyond the somewhat argh-ness of the transfer, the entire experience was great. We bumped up the speed each time we played it through, which I was very thankful to do; I like playing it faster than I do in lessons. When we get it going at 104mm, it's great. We both seem to have the same instinct of when to bring the pace down a notch and when to reassert the original tempo, too, which is a good thing. Apart from the usual missed notes and wrong fingers, I'm very impressed with the recording. We're doing a great job. Considering the fact that this is the first time we've played it together, I'm all the more encouraged. Listening to the recording is interesting; I can't tell who is who a lot of the time. I mean, I know what bits I play, but if I'm not concentrating I can't tell which cello is producing the theme or the accompaniment at any given point. Which means the balance is good. And we had fewer problems than I expected; we listened to one another quite well.

Just before she arrived the postperson dropped off the box of cello goodies I won from Emily and Benning Violins! I had to leave it sitting there on the table while we played. I opened it while I was transferring the recording, and here is a photographic record, as promised to various cello players in the blogosphere!



The very cute little box! Emily drew little cellos and notes and bass clefs on the other side.



The contents!



The contents, unpacked! There's peg lubricant, polish, a microfibre cleaning cloth, the Larsen A, and a brand-new cake of Gustave Bernardel rosin. It is perhaps somewhat sad that I am very excited about the microfibre cleaning cloth. I needed a new one. I'm very excited about the rosin too, of course (the idea of spending fifteen dollars to try a new cake of rosin is alien to me), and hey, a Larsen A! But evidently all it takes is a nice blue cloth to make my day. I'm a simple creature. Thank you, Emily! I will think of you every time I swipe my bow with the rosin or clean off the cello.

Aha; on the fourth transfer I have established proper levels and volume, and there are no pops or clicks. A little voice has piped up inside my head and says, You know, the Mac Mini will come with Garage Band! This will be very exciting! I wonder if I can link my microphone directly into the extended-loan iBook to record my part for my partner to practise against, even though it doesn't have GarageBand on it. Hmm. Worth messing about with next week. If not, the MiniDisc-to-computer it is.

And to top it all off, I have a lesson tonight. I'm looking forward to it, especially now that I've listened to the recording (multiple times) and know what bits really need work, and what places my partner and I will have to listen to one another extra-hard.

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* The original post at Owls' Court
* Owls' Court: the main journal
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And In Unrelated News...

This morning, while I was composing the very-difficult-to-write post about my newfound chocolate sensitivity, I received word that I won a year's subscription to Strings magazine plus a $100 gift basket from an LA luthier for a 250-word contest entry I wrote on Emily Wright's online teaching technique via her cello blog.

Whee!

This was especially nice, because I didn't do it for the prize; I did it because Emily was looking for an idea of how readers interpret her lessons and approach. Of course, the prize is really quite nice too, because who wouldn't want a goodie bag of cello-related stuff? (Er. Anyone who is a cellist, that is. I have no idea what most of you would do with such a thing. No, wait, yes I do: You'd give it to me!) The subscription is timely because I was going to have to let my subscription to Strings lapse this fall; it's too expensive for me right now.

So. Yes. What a lovely surprise.

I really need to get back to working on the taxes.

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* The original post at Owls' Court
* Owls' Court: the main journal
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