I did not have much time in Cayman, only 4 days, so I didn't have much time to enjoy the surroundings. I'm sure you're wondering, "Why is that person wearing long pants and dark clothes?" Well, I forgot my bathing suit as well as summery clothing. Anyway, I was busy rehearsing, doing interviews and a workshop at University College Cayman. My pianist Glen Inanga was a fabulous host, and we had fun at our concert, which was a benefit for the Cayman Youth Choir and a  launch for our Russian Sonatas recording. I think my son loved Cayman the most, and had fun playing in the water and exploring the island.

The performance will be held at:

Studio Theatre

Stocker Arts Center

Lorain County Community College

Elyria, OH

November 20, 2011, 3 pm

The first one is a chamber concert with Sandra Shapiro, Stephen Geber and Paul Kantor, playing works including the Brahms A major piano quartet. It's held at Mixon Hall at the Cleveland Institute of Music, on Sunday, September 18, 2011 at 4 pm.

The second is a benefit concert for the Ohio Viola Society. It's to raise money for their scholarship competition. I'll play works by Bach, Quincy Porter and Paul Juon, and will be collaborating with Jim Howsmon on piano. It's at Drinko Hall at Cleveland State University, on Friday, September 23, 2011 at 7:30 pm.

I will also be doing a workshop earlier that day from 1-2 pm for the students on the Island. I love to see what creative things are going on in the places I perform!

The album features composers Varvara Gaigerova, Alexander Winkler, and Paul Juon. Who are they, and where is the Shostakovich Viola Sonata? Well, as I'm sure most of you have noticed, I have yet to update my web site and blog in many months, and I'm still a little behind. I will eventually have dedicated pages for the composers and Glen Inanga, my fabulous pianist. I love the Shostakovich Sonata, but did not include it because I love to explore music off the beaten path. There are other wonderful recordings of the Shostakovich, and maybe one day I will make a recording from the standard viola repertoire.

I hope you enjoy the new CD!

It will take place on Monday, March 28, 2011 at 7 p.m. at Plymouth Church in Shaker Heights, Ohio. (2860 Coventry Rd.,  Shaker Heights, OH 44120)

The concert is organized by violinist Sae Shirigami, and this is what she wrote about the concert:

The recording was nominated in:

I know I haven't won anything, but I feel like I have. I put so much time and energy into this project, yet wondered if anyone listened. The point of the recording was for the music to be heard, not a vanity album or a promotional tool. This proves overwhelmingly that it was heard, and that my colleagues respected the effort. It's very touching. So I must thank (and not in order of importance except for the first one):

• My parents - for driving me to music lessons in inclement Alaskan weather, paying for those lessons, camps, etc, and for supporting me unconditionally
• My adoring and wonderful husband Jon, and my cute son William, who keeps me grounded
• Musicians John McLaughlin Williams, Doug Rioth, Northwest Sinfonia
• Producers Marina and Victor Ledin, who are incredible musicians
• Engineers Leslie Ann Jones, Kory Kruckenberg & David Sabee, for making it all come together so eloquently
• Dorian Sono Luminus - for believing in me enough to want to make another recording
• Cleveland Orchestra - for being an interesting and creative group of musicians from whom to learn
• Bob Vernon, Linda Cerone - for being among the vital teachers in my musical education
• Incredible friends and family who supported me through the making of the album

Asakusa shrine

William and I at the Imperial Gardens

See a clip of the event:

Of course I think this is great! I work there! But besides that, I see the arts as a vital part of being human. What would this world be if we were to take it all away - music, dance, visual arts, architecture, poetry? We would have no creativity, and even those basic subject like reading, writing and arithmetic would be stunted without an artistic outlet. We would loose all those myriad and important ways to catharsis and emotional growth. Not everyone needs to love what I do, or even like it, but there is a connection to classical Western music and what is written now, pop music as well as  the "classical" genre.

A slight non sequitur,  I'm a huge Salar Nader fan! He's an awesome tabla player and fantastic musician. I saw him in Kite Runner at the Cleveland Playhouse, and his playing was mesmerizing! It was a treat to play with him, as well as Jamey Haddad and my colleagues at the Orchestra and Cleveland Institute of Music.

This is an interview with John McLaughlin Williams, musician extraordinaire. I'm looking large with life and big hair!

my son William in his plant-like stage

Then suddenly, one gets smiles, a little babbling, and a stream of steady changes from day to day, until one day, the child actually communicates something intentionally and your heart soars. For me, that day is today, where my son made the sign for milk, and I gave him milk, and he was satisfied. He is in his eighth month now, and I've been showing him the Baby Signing Time videos which seem to captivate him. He loves looking at other babies and young folk, plus he enjoys the music. I enjoy the videos too.

Perhaps the first way we did communicate was through music, though it was more subtle and basic. I played a lot of vocal music for him and sang silly songs, and I quickly learned which music calmed or excited him. I play Appalachian folk music, strophic songs, Renaissance vocal music, Chopin Nocturnes (which capture his attention when he's upset), children's nursery rhymes, anything by Bach, and the list continues to grow.

It's also fun to imitate the sounds he makes, and listen as he mimics the sounds I make. It's like a jam session without needing to know music theory. Each day is a new discovery of sound, signing and communication. I'm loving it!

The most important thing if one has never lifted heavy weights before, is to find a trainer who can help with proper form. It's the same with playing viola, good form can help evade pain from bad posture and make playing easier. A good trainer will  gauge the weights, guide your form, and keep mixing up the workouts so you don't get bored. Of course, the discipline comes from you!

I  prefer to train 3 times a week, with workouts in three categories: arms/shoulders, chest/back, and legs. I record my workouts so I can see my progress. I still enjoy a good run from time to time, and I usually preface my workouts with a mile run. I also find yoga very helpful with alignment.

Eventually I will get back to my regular workout routine. My new bundle of joy has completely changed my schedule, but I try to do something every week!

The recital is at Lorain County Community College on March 10, 2010 at 7:30 pm as part of their Signature Series. I will be performing with Shanelle Cook on piano. I did an interview on the Cleveland NPR show Around Noon about the concert and the Porter album. It went well, and I had never done a live radio interview before.

On February 28, I performed Jeffrey Mumford's piece wending on the Cleveland Composer's Guild.  I will also perform it on my recital in LCCC March 10.

I performed the debut of Leslie Adams' viola piece L'extase d'Amour for his Cleveland based fan club on February 15. Channel 3 was there taking footage, and a very nice piece was presented about him. 

The length of practice depends on what I have to prepare. On the rare event when not much is going on, I spend a couple of hours on scales, intervals, Dounis shifting and finger strengthening exercises, bowing techniques like up and down bow staccato and thrown bow, and etudes. If I have a recital or recording session to prepare, it's usually around 4-6 hours of practice. This can get tricky to manage as I also have the Cleveland Orchestra rehearsal schedule to consider.

When I practice, I'm always listening for basic musicianship, which I consider to be intonation (playing in tune), good rhythm, phrasing, and a singing, beautiful sound quality. The point is to always listen, so I try to vary how I practice so I don't get bored. I am, however, methodical. In my warm up, I always practice shifting, intervals, and scales, and if I'm not to overrun with pieces, I practice a technical etude. The music I practice constantly changes, so there's no way to get bored there.

Having just had a child a couple of months ago, practicing has become rather erratic. However, it is getting more scheduled, like my son's sleep habits. I have my longer sessions when he is asleep or someone else is watching him, but sometimes he practices with me when I do my warm up. If he is up to it, he can tolerate up to an hour, which I find amazing for a 10 week old.

I hope you had a wonderful holiday season, and happy practicing!

This is my new son William, who is 6 weeks old, in his green bassinet.