Back in full intensive mode with Eugène Ysaÿe’s Solo Sonata no. 3, which I will be recording next month for @twelve.thirtyfour.music. The choreography of the conclusion is challenging - the poetic nature unflinchingly underscores a particularly virtuosic section, framed by a simple, taut harmonic progression, and the body is faced with rapid string crossings... the mind is on fire, in a state of at once hyperactivity and composure!! Imagining the movement coming from the sternoclavicular joint, where the collarbone connects to the sternum, and the arm as suspension system of springs (joints).
4th live performance after the lockdown last year - a memorable experience sharing Mozart’s Turkish thrills with the Naples Philharmonic and Mo. Radu Paponiu on two consecutive nights in the acoustically magnificent Hayes Hall. Here's a clip of one of my absolute favorite moments in the concerto - the solo entry in the second movement, "Adagio". Some words to characterize this movement: ethereal, plaintive, wistful, all underscored by a sense of calm buoyancy.
Segmented run through. Coming out of the den and practicing in the living room with a nice view (feeling fortunate). Preparing for three performances of Mozart’s “Turkish” Violin Concerto with Iris Orchestra and Naples Philharmonic, next week - a state of joy and on this day today, feeling especially at one with my body.
Grateful. Mr. Bear and Mr. Heifetz are also feeling quite blissful.