• 'Satinsky offered up another in a long series of fine performances, the audience practically purring its delight...'
  • 'The solo by the master cellist Adam Satinsky left not a dry eye in the audience.'
  • 'The orchestra ........... wrapped themselves around Satinsky's lead.'
  • '[Satinsky] produced .... remarkable virtuosity ..... he expressed deep pathos, soft sensitivity, and sincere heartbreak.'

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CREDITS

Francis POULENC, Sonata for Violoncello and Piano, Op. 143; performed 2005-07-12; Adam Satinsky, cello; Brian Connelly, piano. I. Allegro; tempo di marcia

Antonio VIVALDI, Cello Concerto in G major, RV 413; performed 2004-09-20; Adam Satinsky, cello (soloist); members of the Naples Philharmonic. III. Allegro

Edward ELGAR, Cello Concerto in E minor Op. 85, performed 2009-02-15; Adam Satinsky, cello (soloist); Charlotte Symphony Orchestra; Janita Hauk, cond. III. Adagio.

John WILLIAMS, Three Pieces from "Schindler's List" (orchestral version); performed 2008-03-29; Adam Satinsky, cello (soloist); Naples Philharmonic; Jeff Tyzik, cond.III. Remembrances

Antonin DVORAK, Piano Quartet in D major, Op. 23; performed 1993-08-08, Marlboro Music Festival, Marlboro, VT; Thomas Bagwell, piano; Ayako Yoshida, violin; Philip Naegele, viola; Adam Satinsky, cello.I. Allegro moderato

Wolfgang Amadeus MOZART, String Quartet in B-flat major (No. 17), K. 456 "Hunt"; performed 2006-08-23, Grand Teton Music Festival; Robert Davidovici, violin 1; Amy Glidden, violin 2; Valerie Heywood, viola; Adam Satinsky, cello. III. Adagio

Sergei RACHMANINOV, Vocalise, Op. 34, No. 14 (arr. for cello and piano); recorded 2007-02-17, Potomac, MD; Adam Satinsky, cello; Thomas Bagwell, piano.

Camille SAINT-SAENS, "The Swan" from Le Carnaval des animaux; performed 2002-11-02; Adam Satinsky, cello (soloist); Naples Philharmonic Orchestra, dir. Kunzel.

Frederic CHOPIN, Sonata for Violoncello and Piano, Op. 65; recorded 2007-02-17, Potomac, MD; Adam Satinsky, cello; Thomas Bagwell, piano.II. Scherzo



Click below for Adam's Youtube Channel.

Teaching

I ought to have known how significant teaching would be in my musical life: my Mom's father was a devoted piano pedagogue. Somehow I didn't understand at first. I couldn't see its impact from the outside, looking on as colleagues built their studios. I hadn't quite come into my own enough as a player perhaps, with adequate understanding of what it took to do what I do. Once I finally dove into guiding a handful of private students, I realized just what I had been missing.

Teaching has become a natural extension of what I do as a performer. It's a cycle, back and forth. You give a lesson. You then go home and think about everything that was discussed. It's not only the student who must review the lessons, after all.

So while you practice, rehearse, and perform, the words that were spoken at the lesson continue to resonate in your mind, and they inform all that you are doing. As a result, at the next lesson, you are armed with a new take on those same issues, and the cycle continues. This gives the teaching process a continuity which is helpful for a budding cellist.

I like to speak of an infiniteness experienced as a teacher. There is no end to learning about the student as a person, exploring their sensitivities to music and talent for cello playing, and determining the best ways to guide them through their hurdles. The techniques employed as a teacher are also unlimited. They are only as limited as your own imagination, and your ability to incorporate and describe what you glean in your day to day life. You end up combining the left and right sides of the brain in ways you could never envision. As a musician, I've never had this kind of creative awakening except as a teacher.

Biography

For Adam Satinsky, music has always been a vehicle for exploring the balance between spontaneity and precision, and between personal expression and communication. He has studied with Stephen Kates of the Peabody Institute, Paul Katz of the Eastman School of Music (currently at the New England Conservatory), and Janos Starker of Indiana University, as well as attending master classes with prominent cellists such as Lynn Harrell, Ronald Leonard, Luis Garcia-Renart, Stephen Isserlis, Aldo Parisot, and Yo-yo Ma. This rich and varied training has given Adam a more complete mastery of his craft; perhaps more importantly, it has opened his eyes to many different forms of musicianship and allowed him to develop his own unique expression and relationship with music.

From an early age, Adam began winning competitions and receiving awards. At the ages of twelve and thirteen he won the concerto competition of the Interlochen National Music Camp in Interlochen, MI; two years later he won first prize in the concerto competition at the Peabody Institute in Baltimore, MD. At the age of sixteen he entered the Eastman School of Music to study with Paul Katz, and later received an award from the National Foundation for the Advancement in the Arts in recognition of his artistic talent. Upon continuing graduate studies at Indiana University with Janos Starker, Adam began entering and winning both national and international competitions: the Tilden Competition for the National Arts Club of New York (1992, second prize), the National Solo Competition for the American String Teachers Association (1992, first prize), the Santa Barbara Symphony/Esperia Foundation Competition (1992, first prize), the Max D. Jost International Cello Competition in Lausanne, Switzerland (1994, semifinalist), and the Indiana University Cello Competition and Kuttner Competition from Indiana University (1994 and 1995, first prizes).

Adam has been a professional section leader with the Charleston Symphony Orchestra and the Naples Philharmonic Orchestra in Naples, FL, where he has played as principal cellist since 1997. He has also performed many different concerti with orchestral accompaniment, including the Beethoven Triple Concerto, the Brahms Double Concerto, the Tchaikovsky Rococo Variations, the Haydn Concerto No. 2 in D major, the Schumann Cello Concerto in A minor, the Haydn Cello Concerto No. 1 in C major, the Saint-Saens Cello Concerto No. 1 in A minor, and the Boccherini Cello Concerto No. 2 in D major.

Adam's solo and chamber music repertoire is equally varied. He performs frequent solo and chamber recitals in the Naples area as part of the Naples Philharmonic "Candlelight Series" and other musical series, and also travels frequently around the country to cities such as Washington, D.C.; Montpelier, VT; Gaithersburg, MD; and Iowa City, IA, for performances and master classes. Adam has performed solo and chamber music by J. S. Bach, Shostakovich, Schnittke, Rachmaninoff, Poulenc, Hindemith, Schumann, Prokofieff, Chopin, Franck, Brahms, Bartok, Granados, Ginastera, Lutoslawski, Kodaly, Debussy, and many other composers both living and dead.

Some of Adam's favorite moments in his musical career have come while teaching and performing at various music festivals around the world. In North America he has participated in the Grand Teton, Bellingham, Sarasota, Marlboro, Banff, Aspen and Ravinia Music Festivals -- truly a wondrous variety of cities and mountainous regions. No less awe inspiring are his European excursions to festivals in Ernen, Switzerland; Heidelberg, Germany; the European tour of the North Carolina School of the Arts Festival Orchestra; and Schleswig-Holstein, Germany.

Adam plays a poplar Paolo Castello (c. 1730, Genoa) and a maple Christopher Dungey (2009, Pocatello, ID). His amourette-wood bow is modern, crafted by David Forbes in 2005.

  • Soaring with Shostakovich, Paddling with Mozart

    Naples Daily News
    By Harriet Howard Heithaus
    12 May 2009

    Despite the fact this area is tinder-dry, the Philharmonic Center for the Arts programmed Adam Satinsky to perform the Shostakovich Concerto No. 1 in E-flat Major last Friday and Saturday, definitely raising the fire index. Satinsky and the Naples Philharmonic Orchestra, for which he is principal cellist, smoked on Shostakovich's primal requiem in a way that wrapped the entire hall in its figurative cloud. The cellist's familiarity with this concerto was obvious in his alternating projections of concentration, delight and, occasionally, just plain hard work. Satinsky wasn't partying alone, either. The orchestra and guest conductor Stuart Malina wrapped themselves around Satinsky's lead with the chops critical to Shostakovich's fascinating, paranoid opus.

    There's nothing small about this work. The cello is an instrument that channels emotion deeply, and Shostakovich's first concerto for it, published in 1959, telegraphs angst and despair and longing. It was fanned into flame, no doubt, by the knowledge some Soviet apparatchik was scanning every note for political insolence. Music analysts point out unsettling allusions to mortality in every movement, including phrases from death songs to a sick child and to a drunken peasant as he succumbs to a freezing snowstorm.

    The opening Allegro sets the tone with an insistent call and a four-note theme from the cello, against percussive marches from the oboes. Bass subthemes suggest swarming bees, the brass sounds danger calls, and a corps of flutes and piccolos leads a chorus of menacing little motifs.

    The next three movements are played without a pause, churning the tempo from its introspective Moderato into the expressive, urgent Cadenza before its final movement. Satinsky is on his own for 148 bars in the middle of that. He works with every technique his instrument will take - double-bowing, strumming, plucking - in an intimate, primal solo. Satinsky immersed himself in the concerto as though he were listening to whispered instructions from the composer, with vigor and clarity and depth. After a triple ovation, he helped ratchet down the musical adrenaline a bit with an unscheduled solo, a Sarabande from Bach, to crown a thoroughly rewarding first half.

    The concert had opened with Debussy's Petite Suite, a mirror image of the Shostakovich work. Here, the orchestra had to stay light on its feet for a four-dance grouping that constantly defies gravity. One of Debussy's early works, it roams from dance to dance with flute themes in its breezy "En Bateau" (In the Boat) and its sunny "Cortege."

    Even the more relaxed, violin-powered "Menuet" has the power to produce head swaying.

    The program notes point out intentional homage to the styles of composers Debussy revered, but that's not what makes this work special: the Petite Suite is dopamine in a music book. Originally written for fourhanded piano, an authorized arrangement by Henri Busser scored it for orchestra, and not one happy endorphin has been lost.

    Malina's controlled conducting made it a spirited performance. The headlined work, Mozart's Symphony No. 40 (the "Great") in G minor, was not nearly the equal of the two works preceding it.

    That's not to say the Philharmonic didn't play the latter well. It didn't seem to have the same intuitive approach as did the Debussy work, however.

    With the exception of a breakthrough in the last movement, this piece seemed to be performed at dynamic mid-range. The Debussy sailed; the Mozart only flowed.
  • Charlotte Symphony Rises to a New Level

    Charlotte Sun
    By Sandy Copperman
    23 February 2009

    Maestra Janita Hauk conducted the Charlotte Symphony Orchestra, with Adam Satinsky, cellist, as featured soloist, to a new performance level, in Cello Concerto in E minor by Edward Elgar Feb. 15 at the Center for Performing Arts and Education in Punta Gorda. The concert was entitled "Rule, Britannia!"

    After the orchestra began with a too-slow "God Save the Queen" and a graceful "Fantasia on Greensleeves," by Ralph Vaughan Williams, Satinsky took his time to settle down on stage. With deliberate intensity, and coordination between him and the Maestra, he delivered what appeared to be a nonpareil interpretation of the four parts of Elgar's last major work.

    Satinsky mined the rich range of the cello for poignancy, backed by the full depth of the orchestra. The cello's plaintive theme continued. The orchestra, although sounding strong, did not overpower the soloist.

    After Satinsky began plucking the strings of his instrument, he produced a remarkable series of virtuosity in a study of introspective disillusionment.

    Satinsky expressed in turn depressed lethargy, deep pathos, soft sensitivity, and sincere heartbreak, as he traveled over the full range of the strings. His repetitive motif and the orchestra's repetitive responses emphasized the musical anguish. The soloist and orchestra resolved the music into a theme of sorrow. This ended the first set.

    The orchestra opened the second set with three country dances from "Nell Gwynn," by Edward German, an unusual and surprisingly pleasant selection, played mainly by strings and percussion.

    Next, Elgar's "Enigma Variations" Parts 7, 8 and 9, were too brief, but their brevity was compensated for by perfection in their execution. Hauk brought together the orchestra's expression and technique: virtuosity in 7, relaxation in 8 and the warmth of camaraderie in 9.

    Percy Grainger's sprightly and entertaining "Mock Morris Dance," and the pomp of William Walton's "Crown Imperial March," finished a satisfying concert.

    During the preliminary introductions, Judy Roth and the Roth Family Foundation were recognized for their sponsorship of tonight's concert and for her support and participation on the board of directors for the past eight years. Kate Mondello, board member and past president, was called up for her induction into CSO's Emeritus Society.
  • Letters to the Editor: Special Events

    Naples Daily News
    By (anon.)
    15 July 2008

    If we forget ...

    Editor, Daily News:

    Sunday, as I had planned, I was at the Naples Depot. The occasion was history-making for all of Southwest Florida, and I am pleased that I was there to witness the boxcar dedication.

    To take something like this boxcar, that was used for transporting the innocent to their deaths, and turning it into an educational tool to promote tolerance and understanding by teaching the history and lessons of the Holocaust is a good thing. It brings tears to my eyes when I think of the terror the people went through. It is all so unthinkably horrible, but if we forget what happened, it will happen again.

    The solo by the master cellist Adam Satinsky left not a dry eye in the audience. He played wonderfully. The choir was also amazing and heart-wrenching. The entire ceremony was very touching and solemn.

    Sorry to say, I have no idea of why Roosevelt Andre Credit, who has a fantastic voice and performs beautifully, sang John Lennon's "Imagine." For me, it was a very odd selection.

    It is my hope everyone in our area, and those visiting Naples, will take the time to view the boxcar at the Naples Depot, and then go to the Holocaust Museum. We all need to keep our eyes wide open to what is happening in the United States and around the world.

    Indifference is an attitude we cannot afford.
  • Charlotte Symphony Heralds Spring with Fine Trio

    Charlotte Sun
    By Sandy Copperman
    2 March 2008

    The Charlotte Symphony Orchestra, conducted by Maestra Janita Hauk, performed a concert entitled "Anticipating Spring," at the Center for Performing Arts and Education in Punta Gorda on Sunday night. James Zhang, violinist, Adam Satinsky, cellist, and Mingshan Kong, pianist and Zhang's wife, were the featured performers during the first set in Ludwig van Beethoven's "Triple Concerto in C Major, Op. 56." The other work in the program was in the second set, Robert Schumann's "Symphony No. 1, 'Spring.'"

    Beethoven's "Triple Concerto" consisted of three movements. In the first, "Allegro," the orchestra smoothly developed a mellow introduction by the stringed instruments. It was melodic and majestic, a prelude to the trio of solo instruments.

    Satinsky played the first theme on cello. Zhang followed with the same on violin, ditto Kong on piano. They balanced their sounds together and with the orchestra. They had all performed together in the Naples Philharmonic Orchestra, and they sounded accustomed to performing with each other.

    All three soloists showed technical proficiency in playing difficult passages. Their tone varied from sweetness to grandeur. The interplay between them was sheer delight. Keeping to the composer's strong rhythm, they developed the theme with increasing intensity to a crescendo with the orchestra, to end the "Allegro."

    In the second movement, "Largo," the orchestra sweetly introduced Satinsky playing the second theme, which was euphoric. This was expanded by Zhang and Kong, without orchestral background. The trio's music reflected tranquility and gracefulness.

    The trio then segued into the final movement, "Rondo alla Polacca," in a spirited dance tempo. Their rapid play, seemingly an act of wizardry, expressed joy, and then the orchestra broke forth into a similar jubilant celebration. Zhang's violin sang effectively, followed with reiteration by the cello and piano. Kong's playing brought out the virtues of the Steinway.

    As the trio and orchestra reprised the themes, the soloists took turns to perform technical fireworks. The rhythm of the Polonaise became more pronounced. The intricacies of rhythm, melody, harmony, counterpoint, volume and emotional expression were performed in a marvelous way.

    The concerto ended to a standing ovation and to smiles and comments of satisfaction from the audience.

    In the lobby during intermission, Satinsky was asked what he felt about his performance. He said, "It felt like an otherworldly experience."
  • Brahms, Dvorak a Perfect Finale

    Naples Daily News
    By Peg Goldberg Longstreth
    25 May 2006

    SEVEN members of the Philharmonic Orchestra were front and center for two hours in back-to-back sterling performances of two primo chamber selections.

    If you were awed by the glorious first selection, "Brahms Piano Quartet in G Minor, Op. 25," imagine having the intellectual and emotional wherewithal to have created it when you were just twenty. Not in a hundred lifetimes could the ordinary mortal have such a rarified vision, let alone be capable of sharing it with the world.

    Concertmaster Glenn Basham (violin), principal cello Adam Satinsky, principal viola Jessie Goebel and pianist Jodie DeSalvo combined their talents to give an absolutely top drawer performance.

    Its first movement should have been sufficient to transport concertgoers to nirvana. Satinsky never sounded better, as he opened the movement with an absolutely lush musical phrase, soon followed by Goebel and Basham repeating the same melody line. Throughout the entire four movements, Brahms programmed numerous unison lines, an interesting contrast to the remainder of the score.

    Alternately strident with an almost military cadence, its other emotional tone was that of a love song, full of longing and passion.

    And then came the blistering fourth and final movement, a furious gypsy dance, DeSalvo continuing to demonstrate her pianistic talents, the keyboard fairly exploding while the strings literally sounded like scurrying bees. Just as suddenly they once again dissolved into sweetness.

    The normally staid audience roared its approval.
  • Baroque Opener Nourishes Hurricane Weary Souls

    Naples Daily News
    By Peg Goldberg Longstreth
    21 September 2004

    ENTITLED "Corelli by Candlelight," thirteen members of the Naples Philharmonic Symphony have joined forces to become the Phil's Baroque Ensemble, featuring the earliest period of music performed to date at the Philharmonic. The Ensemble consists of Glenn Basham, concertmaster; Ming Gao, David Mastrangelo, Erik Berg, James Zhang and Joel Fuller, violins; Jessie Goebel, Lisa Mattson and Monica Biacchi, violas; Adam Satinsky, John Marcy and Thomas May, cellos; Debra Stehr, bass; and James Cochran, harpsichord.

    This may have been their first performance as a Baroque Ensemble, but they were wonderfully attuned to each other, giving a finely balanced performance.

    . . .

    Adam Satinsky, principal cello for the Naples Philharmonic, was the ensemble's featured soloist for Antonio Vivaldi's beautiful "Cello Concerto in G Major, P.V. 120." Vivaldi (1678-1741) was a reluctant priest, and an obsessive violinist and composer extraordinaire. He composed an astonishing number of concerti, nearly 400 in all, 35 of which were for cello. This concerto, which is essentially a descending scale concerto in three movements, was pure ecstasy. Satinsky offered up another in a long series of fine performances, the audience practically purring its delight, lengthy applause following the number's conclusion.
  • Conductor Hangen Creates Magic in Phil Pops Concert

    Naples Daily News
    By Peg Goldberg Longstreth
    19 February 2004

    WOW! Bruce Hangen, the recently named principal guest conductor of the Boston Pops, showed an initially noticeably tense, standing-room-only Naples audience, how to kick back and really enjoy good music Tuesday evening at the Naples Philharmonic Center for the Arts.

    . . .

    Next up was Rossini's "William Tell Overture," which opened with a beautiful solo by principal cellist Adam Satinsky, soon joined by the remainder of the cello section and double basses, as one by one the individual orchestral sections joined until . . . you've got it . . . ZAP! The music everyone knows as the theme from the Lone Ranger brought on cheers, more applause during the score, all "ordered" by Hangen.
  • Cello and Piano Collaboration Proves Masterful

    Barre Montpelier Times Argus
    By Jim Lowe
    3 September 2002

    WHILE MANY WERE AWAY celebrating the last weekend of summer, a select few were enjoying a splendid cello and piano recital Sunday evening at the Unitarian Church.

    Montpelier pianist Mary Jane Austin and Florida cellist Adam Satinsky achieved the real grandeur of one of the great Brahms cello sonatas, while Satinsky delivered an inspired performance of one of Bach's sublime solo cello suites.

    . . .

    Brahms' two cello sonatas are among the biggest in the repertoire, and of the two, the Sonata in E minor, Opus 38, is the more rhapsodic. Satinsky and Austin, seeming to perform with one voice, were quite successful in achieving the magnificence of this masterpiece.

    Austin played with clarity and accuracy, imbuing her lines with color and power, while Satinsky's cello sang with passion. Still, the performance seemed a little on the polite side, with Austin in particular restricting herself, losing some of the work's rhapsodic feel. This may come from the fact that both are more accustomed to playing in restricted situations. But, this is nitpicking. These two fine artists delivered a powerful performance.

    Satinsky achieved more freedom in Bach's Cello Suite No. 5 in C minor, BWV 1011. Bach's six cello suites are among the purest of musical expressions, and the fifth is among the most difficult, technically and musically. The work takes a master to make musical sense out of it, and Satinsky delivered.

    Satinsky's approach was conservative but expressive. His subtle rhythmic fluency and light sound gave life to the six Baroque dance movements, while his restrained passion gave it power. Particularly haunting was the trio from the first gavotte, but the whole performance proved potent and truly touching.

    . . .

    Satinsky and Austin also performed a number of shorter works, most showing off Satinsky's easy virtuosity. Tchaikovsky's Pezzo Capriccioso and Dvorak's Rondo, Opus 94, in particular fit that bill, and Satinsky and Austin delivered them with panache and character. But it was Faure's elegiac Apres un Reve that sang in that way that only a cello can.

    This was certainly a rewarding recital.
  • Music Lovers Attracted to Emotional Pull of "The Messiah"

    Naples Daily News
    By Corrine Dunne
    18 December 2001

    FRANZ JOSEPH HAYDN'S virtuosic "Concerto for Cello" in D Major was performed by Adam Satinsky, the Naples Philharmonic's principal cellist [at Saturday's "Mostly Messiah" performance at the Philharmonic Center for the Arts]. Playing with discipline and drive, Satinsky made his foray into the work's three lyrical movements that offer interesting opportunities for solo display.

    As the work was written for Haydn's friend Anton Kraft, a well-known virtuoso, this showpiece makes enormous demands with rapid scales, double-stops, and florid melodies in a high register. The interplay between soloist and orchestra was warm and resonant.

    There were standing ovations for both the Messiah portion of the concert and for Haydn's Cello Concerto.
  • Detroit Conductor Brings Insights to Philharmonic

    Naples Daily News
    17 October 1998

    EACH CONDUCTOR puts his or her own stamp on the music performed in concert. Ya-Hui Wang, assistant conductor of the Detroit Symphony Orchestra and a protoge of the illustrious conductor Daniel Barenboim flew into town to condct the Naples Philharmonic Orchestra's "Casual Classics II" concerts at the Philharmonic Center for the Arts on Thursday and Friday.

    . . .

    It is always a special treat to hear one of our orchestra's principals in a solo role. Adam Satinsky, principal cellist, a prodigy who made his debut at the age of 12, made a fine impression in Tchaikovsky's rhapsodic "Variations on a Rococo Theme, op. 33." Tchaikovsky wrote this famous work for his friend, Wilhelm Fitzenhagen, a famous German cellist. Satinsky's playing was compellingly subtle and refined and obviously appreciated by his fellow players, who gave him admirable support.

    The audience responded to Satinsky's performance with a standing ovation.

Orchestras

Naples Philharmonic Orchestra, Naples, FL, principal cello, 1997 - present
Charleston Symphony Orchestra, Charleston, SC, principal cello, 1995 - 1996

Recitals

St. Paul's Episcopal Church, Naples, FL, December 2007
Recital, World Bank, IFC Cultural Center, Washington, DC, February 2007
Recital, First Presbyterian Church, Naples, FL, November 2006
Lecture/recital series, Asbury Methodist Village, Gaithersburg, MD, September 2004/January 2006
Riderwood Village concert series, Gaithersburg, MD, September 2005
University of Iowa and Grinnell College, March 2005
Recital series in Vermont, Montpelier, Vergennes Opera House, Grindstone Island/August 2002
Concert series at Vanderbilt Presbyterian, Naples, FL, December 2002
Frequent performances with Naples Philharmonic "Candlelight Series" since 1997

Concerti

Shostakovich Cello Concerto No. 1, Naples Philharmonic, 2009
   Additional concerto performances with the Naples Philharmonic (since 1997), including the Brahms Double Concerto,
   Tchaikovsky Rococo Variations, Bruch Kol Nidre, Haydn Concerto in D, Boccherini Concerto in D, and two Vivaldi concerti

Elgar Cello Concerto with the Charlotte Symphony, 2009
Beethoven Triple Concerto with the Charlotte Symphony, 2008
Schumann Cello Concerto in A minor, Indiana University Philharmonic, 1995
Tchaikovsky Rococo Variations, Santa Barbara Symphony, 1993
Haydn Cello Concerto No. 2 in D major, Gibbs Chamber Orchestra, Eastman School of Music, 1989
Haydn Cello Concerto No. 1 in C major, Peabody Chamber Orchestra, 1988
Saint-Saens Cello Concerto No. 1 in A minor, WYSO, National Music Camp, Interlochen, 1985
Boccherini Cello Concerto No. 9 in B flat major, ISO, National Music Camp, Interlochen, 1984

Festivals

Grand Teton Music Festival, Teton Village, WY, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2011
Bellingham Music Festival, Bellingham, WA, with the American Sinfonietta, 2002, 2003, 2008
Colorado Music Festival, Boulder, CO, 1998, 1999
Ernen Musikdorf, Ernen, Switzerland, 1996
North Carolina School of the Arts Festival Orchestra, Winston-Salem, NC, principal cello, International Music Program, 1995
Marlboro Music Festival, Marlboro, VT, 1993, 1994
Steans Institute, Ravinia Festival, Highland Park, IL, 1992
Heidelberg Festival Orchestra, Heidelberg, Germany, 1990
Sarasota Music Festival, Sarasota, FL, 1989
Aspen Music Festival, Aspen, CO, 1988, 1986
Music Academy of the West, Santa Barbara, CA, 1987

Training

Indiana University School of Music, Indiana University, Bloomington, IN, with Janos Starker, artist's diploma, 1992 - 1995
Eastman School of Music, University of Rochester, Rochester, NY, with Paul Katz, bachelor of arts (music), performer's certificate, 1988 - 1992
Britten-Pears Young Artist Programme, Aldeburgh, England (UK), attended master classes with William Pleeth, 1992
Gregor Piatigorsky Seminar for Cellists, Flora L. Thornton School of Music, University of Southern California, Los Angeles, CA, attending master classes with Lynn Harrell, Ronald Leonard, and Luis Garcia-Renart, summer 1991
Master classes with Stephen Isserlis and Aldo Parisot, Banff Centre, Banff, Alberta, Canada, 1991
Master class with Yo-yo Ma, The Quartet Program, Great Woods, Norton, MA, 1989
Peabody Institute, Johns Hopkins University, Baltimore, MD, with Stephen Kates, 1985 - 1988 Private coaching with Felix Galamir and Jeffrey Kahane

Awards

First prize, Kuttner Competition, Indiana University, 1995
First prize, Indiana University Cello Competition, 1994
Semifinalist, Max D. Jost International Cello Competition, Lausanne, Switzerland, 1994
First prize, Santa Barbara Symphony/Esperia Foundation Competition, 1992
First prize, American String Teachers Association National Solo Competition, 1992
Second prize, Tilden Competition, National Arts Club of New York, 1992
Finalist, National Symphony Orchestra Competition, Washington DC, 1990
Award recipient, National Foundation for the Advancement in the Arts (NFAA), art recognition and talent search, 1989
First prize, Peabody Institute Concerto Competition, 1987
First prize, Interlochen National Music Camp Concerto Competition, 1984 and 1985

Teaching Experience

Performed recitals and led master classes at the University of Iowa, Iowa City, IA, and the Cedar Rapids Symphony School, Cedar Rapids, IA, March 2005
Assistant professor, Music Department, College of Charleston, Charleston, SC, 1995 - 1996
Private coaching since 1995

Adam Satinsky

Philharmonic Center for the Arts
5833 Pelican Bay Boulevard
Naples, FL 34108-2740 (USA)

email: adam@adamsatinsky.com

December 29, 2011, Russian Music Salon, Naples, FL, 6:30 pm
     Smetana Piano Trio, Dvorak "Silent Woods", Janacek "Pohadka"
     Boris Sandler, violin, Bella Gutshtein, piano
     (inquire at rcc@rccnaples.org)

February 9, 10, 11, Philharmonic Center for the Arts, FL, 8 pm
     Ernest Bloch Schelomo for cello and orchestra
     Naples Philharmonic Orchestra, Jorge Mester conductor

February 19, 2012, The Violin Shop, Bonita Springs, FL, 3 pm
     Bach Suite #1 in G major, Joseph Achron Hebrew Melody, Strauss cello sonata in F major, op 6
     Bella Gutshtein, piano

February 26, 2012, Art Hall at Koreshan State Park, Estero, Fl, 4:00 pm
     Strauss Cello Sonata in F major, Mozart Piano Quartet in G minor
     Bella Gutshtein, piano, Boris Sandler, violin
     (inquire at rcc@rccnaples.org)

March 4, 2012, Philharmonic Center for the Arts, FL, 3 pm
     Schubert "Trout" piano quintet in A major, D 667
     James Zhang, violin, Lisa Mattson, viola, Deb Stehr, bass, Mingshan Kong, piano

March 25, 2012, Art Hall at Koreshan State Park, Estero, Fl, 4:00 pm
     Mozart String Quartet #19, Borodin String Quartet #2
     Boris Sandler, violin, Jennifer Kozbial, violin, JT Posadas, viola
     (inquire at rcc@rccnaples.org)












Khwanjai Sawai expresses herself in these floral vignettes, using an array of bright and pastel paints. Her preferred idiom is silk due to its subtlety and vivid blending of color. She hopes you enjoy these snapshots of her work!
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  • I have had the chance to immerse myself with beautiful music, insightful mentors, well-crafted instruments, and a profession of playing the cello. I would like to give back what has been shared with me.

    The personal and the musical are inextricably connected. Go a little below the surface, and one sees their bond.

    These offerings are my attempt to garden and express the heart.

    - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

    Enjoy --- Immerse --- Meditate --- Engage

    Iridescent backlighting illustrates the sentiments found within.

  •      Lichen                                   4/23/11

    So whom am I writing for? Myself? That has to be involved. Anyone who might be vaguely interested? So it seems. It is for fellow travelers, I guess. I could write about musical issues. Would that be directed more towards other musicians? Possibly. They might be the ones who would understand the jargon.

    Am I writing to gain notoriety? No, I don't believe so. Or to further my career? No. Those would not be the reasons. If something like that were to happen, I would figure out how to deal with it as it came. Is writing linked to playing? I think it might be. They are both activities derived from somewhere inside the murky place where the heart lives. They seem to make good bedfellows. There are a number of other categories which stem from that place.

    Maybe I write a blog and have a website because I cannot play a concert alone. It is the next best thing. Really it is a different and separate thing to performing music, but in a way it fills a related void. Perhaps it is expressing philosophically versus the direct emotionality of music-making. Or maybe it is about the direct, real-time connection to an audience versus the gap between writer and reader. Of course there are times when writing is raw and in-your-face and music is intellectual or awash.
    I don't mind being either the same as others or totally different (so I think). It is really a combination. If I am true to myself, I'll see that I have both elements. And so anything that I create would have some commonality and some uniqueness.

  •      Uno                                   10/4/10

    Another connection I should not make is that between good technique and good intonation. Those things are oddly separate. And even if they're not, you can't make any assumptions. You can just go about your business aligning things nicely on both sides, while keeping an ear out for the end product. If they happen to go together, maybe it's just a coincidence.

  •      #1 Rat                                   10/4/10

    I have recently been breaking down my LH technique into a few main components. It started when I got fed up with how uncooperative my first finger is. So the first thing I realized is that I have to keep each finger in mind individually. I cannot let one finger's propensities bias all the others. They are really coming at the string from different places, at different angles, from different parts of the hand, from different lengths, etc.

    On the other hand, the fingers are indeed unified in a lot of ways. I cannot forget that. The trick of course is to have that unified sensation combined with the above-mentioned autonomy. But that seems to be the trick with a lot of things. Permitting contrasting and even contradictory guidelines to all come into play seems to be a helpful approach. In other words, even if there is a unified theory of everything, I better not approach my craft as if there is. That is something which just happens. On a good day. When things align. Not when I perform some sort of fancy computations.

    The other two facets of the left side which have been useful are the arm - neck connection and the variability of the arm height. Keeping in mind that neck tension has a direct affect on the upper arm on down to the hand has a great effect on my posture and symmetry. And utilizing a bouncing and releasing elbow helps to bypass a lot of irrelevant convolutions I go through in my vibrato and hand position.

  •     Pinter                                   9/20/10

    When I'm watching a movie I often feel very strong connections with the characters and the storylines. I often feel my needs and feelings are at least partially embodied in their personas. In other words, I truly get sucked in.

    But I realized something tonight. The reason I get so caught up in the lives of screen images is because there are no obligations associated with them. It is not a 2-way relationship. You are absolutely at total liberty to safely immerse yourself in these projected people. It is fantasy, right? Therein lies the trouble.

    You look for some similar kind of gratification in real life. And you wonder why it is so different, so much more elusive. It turns out it is like comparing apples and oranges, but not only in that it is different. Apples and oranges are both fruit, right? So cinema and reality are both derivatives of human experience. In deeper senses there is a comparison between them, but practically speaking, not so much.

    I imagine it's a good thing that one's reality isn't left up to the machinations of screenwriters and Hollywood A-listers.

  •      Canonize                                   6/23/10

    Maybe I'm more of a philosopher than I realize. I was just reading "This Book Does Not Exist", a book on paradoxes, and I noticed parallels to my thoughts on cello and bow experimentation. It describes philosophies which question reality - like whether 2 seemingly contrary things can exist simultaneously, and likewise whether 2 identical things can coexist - just the sorts of problems I grapple with when I am comparing or trying bows. How can I feel so differently from one minute to the next when the equipment remains the same? Perhaps I should be questioning reality itself. I tend to anyway, but this book makes me feel that I am not crazy in doing so.

    The conundrum seems to be that at one moment I feel so sure about how a bow or cello is responding, then in the next I have an utterly alternate sensation. How do you reconcile them? Which one has more validity? Has something changed which I cannot perceive? Or, as I am now thinking, is my actual definition of reality askew? Maybe that gets into religious considerations as well. Sometimes it seems to me that religions are in the business of stretching the limits of what one considers reality. This can be frustrating and lightening at the same time. There seems to be a fine line between philosophy and religion. Maybe one is the practical application of the other. Of course some religions are more practically oriented than others.

  •      Melange                                   4/23/10

    The precipice. Maybe you don't know of it. Odd that I do. Is that a human trait? Not just nurture but nature?

    Why can I feel so dirty on the inside? I shower more often, but there does seem to be a difference between external and internal. Must there really be so much muck? Is that also something inherent to the species?

    The precipice and muck are well expressed in music, it seems. But it is suggested that it goes the other way as well. If you are frequently expressing certain ideas and emotions in music, they will cycle back into your heart and life. I always thought they just went out into the ether. Into the ears and hearts of the audience, and the universe.

    Sometimes I can comprehend the connections between internal and external. They do link up. Maybe the problem is using my sleep and dreams to determine these things. You have limited access to your physical self. You are all spiritual/emotional. It's a good barometer though. It's a pure version of the depths. Unadulterated.

    I really need an internal shower. How does one accomplish that? Maybe some laughter. Maybe some enriching repartee. Maybe some whimsical music-making. Maybe a good team sport. See? These bridge the gap as I go along.

  •      Blip                                   1/23/10

    The human heart seeks expression. But it seems that some of the most beautiful forms of such demand significant limits. I think that I want endlessness and unbridled-ness. And I do. But there must be the yin to accommodate the yang. Otherwise you fall off the deep end and you lose exactly that destination, that telos you most want to savor.

    The need for constraint comes more naturally for some than others. You are naturally drawn to those who personify contrasting qualities. It is the painful truth of yin and yang. It is the irony which flies below the radar oftentimes.

  •      Ascetic                                   1/11/10

    I just can't believe what an extraordinary art form teaching is. It is so different than playing. Although it is like performing in one way: you use the inspiration of the moment to communicate your deepest, wisest notions.

    Sometimes I am shocked at what comes out of my mouth in lessons. Maybe often. One thing that shocks me is how different it is than my own thoughts and technical hurdlings. It is like new pathways are being forged in my mind, in response to the needs of the student.

    But basically I feel it is a unique art form. It is a special pursuit. I never really thought that in the past. Of course it is an extension of the performing art, but with such differing parameters and directions taken. You have to connect things differently. Your body and breath and speech and eyes and ears. Just the speaking part begins to redirect the experience beyond performing. And then when you interact with the student so closely, attempting to meld your thought processes a bit, new channels open up. It feels never-ending in its potential, in a beautifully variant way from playing.

  •      Muscle Motion                                   1/5/10

    I may have (accidentally) struck upon something which apparently all Starker students are supposed to know. Tension/release. I was getting ready to pull all of my remaining hairs out due to frustration with left hand tension. Instead, I unconsciously started bobbing my arm up and down to the beat, a movement which I associate with preparation, breathing, and feeling pulse - all of which were drilled into us in room 205, I believe it was. After doing that, it made perfect sense that it would apply to the tension/release philosophy he apparently espoused most of his teaching life. It was only due to focusing 98% of my brain power on this persistent problem that I experienced the connection.

    The up and down motion smooths over much of the paradoxical nature of L.H. and L.A. intricacies. It causes many things to move in the right directions, it gives a natural sense of release and freedom, and it doesn't go counter to music making like so much technical compartmentalizing does. It also seems the more I tailor the motions to the phrasing and the desired impulses, the better it works as a release mechanism. Maybe tension/release could be less succinctly rephrased as inevitable tension/controlled respite.

    Actually I think Starker referred to using tension for the necessary strength to play beautiful notes. Appropriate tension makes clear sounds. Incorporating release enhances the resonance and gives breath to the phrase.

  •      Thumb Thoughts                                   1/3/10

    The thumb's job is to help keep the hand shape in tact. Not to squeeze the neck or somehow help with finger pressure. Simple alignment. So the goal is to find as many myriad ways to get the pressure down into the string without any effect on the thumb. The thumb seems to come into play when there is an imbalance on the upper end, with the finger placement. The thumb tries to balance it. It should not be needed for that, if you can achieve that balance with appropriate mechanisms up above the string.

    You can also go at it from reverse. You make sure the thumb stays loose, in turn giving little option but to balance the hand and fingers exclusively. You must keep that goal in mind, though, or old habits slip in.

    The thumb is really tempted to help out with the first finger. It thinks it is attached to it. But you must insist that it is a separate digit, despite its juxtaposition.

  •      16                                   12/15/09

    Tonight I had a chance to try out my left hand finagling. It did not work too well. But I think I had a breakthrough. Why do 99% of those happen as a result of a failure, and only the 1% within a success? Oh, well.

    It's hard to go into too much detail about the cello in this blog, I find, so I didn't explain all of my dominoing ideas yesterday. One of the subsequent notions I had was that everything is derived from a sense of balance. I can think of my left fingers as balancing on the strings like a tightrope walker, although with much less risk of plummeting to their deaths. That springy, light-footed image helps re-envision what their actions entail. It almost gets you into the miniature perspective of them dancing and swimming along the strings. I was also playing with the manifestations of ballet throughout the cello-playing body - in the bow hand and arm, in the spine, through the legs, up into the head.

    So tonight I focused too one-sidedly on the left hand, and I suspect that this has very limited usefulness in the long run (or even in a 10 minute performance). The left hand needs the right hand, which needs the torso, which needs the lungs, etc. It's a complex system which must function as such. And as I practiced later on, I realized how open I have to be to every little discovery I have ever broached. Everything is relevant. I think Casals spoke of the incredible amount of awareness and aliveness and concentration needed to even play something quite simple. I don't know why I like to think things cancel eachother out or override one another. Maybe I am afraid. Afraid of the grandness of what might happen if I don't dismiss or disregard. If I make room for many seemingly unrelated or contrary sides of an issue.

  •      15                                   12/14/09

    2 things: I listened to my mind, and I futzed with my left fingers' approach. The left hand thing has been going on for about a week-and-a-half. I got some advice from a colleague about a different way of thinking about coming at the string. It started me compartmentalizing the stages of a note - from the first instant, through the body of it, at its concluding moments, and on into the next one. I hadn't ever really done that. It's not as though I hadn't heard it discussed. I just somehow couldn't focus on that sort of minutia until more recently. So this was fun for awhile, playing with these stages. There are many ways of commencing a note - with a ping, with a plop, with a lean, with a tickle. And the choice you make here affects the continuation of it - the pingier the attack, the more likely there is you will have a lighter body, from a releasing action. But you can train yourself to start gently and continue gently. I'm more on that notion now. But the key thing which seems to be particularly relevant is that the character of the bow and the music can be reflected in these nuances of the left hand, if you are aware of them (finally). So, thing #1, my mind. Last night I listened to it a bit more objectively than usual. If that is feasible. I didn't appreciate its tone. Really very judgmental. Why is that? No wonder it is such a relief to blog/journal. Getting my nasty brain onto paper instead of stuck in my suffering skull. But my second thought (not quite my first) gave me hope for my mental health: I bet a lot of people are dealing with these crappy thought tendencies. And some learn how to manage nonetheless. So, that means a couple of things: I am not a freak, and therefore not an impossible case study, and there must be some effective means of overcoming it. Hopelessness has never been particularly useful.

  •      10                                   11/14/09

    Too many distractions. Hard to know what might be going on in this heart. Leaping around from thing to thing. But that seems to be the point. It is the distractions which are designed to cover it up. The whole of society enjoys them. Garbage in, garbage out. That may explain the driving need to express myself. I let in so much jumbled, chaotic gobbledygook that it's no wonder there's a boatload to unload. Maybe peace lives where nothing comes in and nothing goes out. Just a stasis, a balance point.

  •      9                                   11/14/09

    When you're a kid, it's almost expected that you will imitate, emulate, and basically ape your way through most complex interactions. I suppose that's fine, except for the fact that at some point it ceases to serve your true, actual needs as a person. Which is really annoying. How are you supposed to be able to suddenly tap your real self?

    So then what happens is we all start to harden into our various facades, hoping we will grow comfortable with them enough to deem them the real us. Of course that just puts more barriers between us and Us. Don't you hate when you think you've uncovered something totally genuine, only to find you were duped by your own good intentions?

  •      4                                   9/13/09

    I just noticed that I was about to repeat myself here. Imagine that. I suppose I might be able to work out some of my patterned behavior if I dissect this blog a bit. If I were to figure out what my patterns were, would that be of some help for me, or am I really unchangeable deep down? Do you try to accept who you are and make your life fit around you, or do you try to accomplish certain things in life and work to fitting your personal tendencies better? Is pain or pleasure better at urging you to change? I think pleasure and comfort actually tend to pull me back to earlier patterns, whereas discomfort and sorrow require some new action be taken.

    What I was wondering is, are there long-range patterns which I could decipher? I think today is a new day, but is it? Maybe today is the 4th day of a bi-weekly pattern which I just haven't figured out yet. Perhaps knowing that would give me the opportunity to observe this ebb and flow of my moods and habits. If I can observe, then I can see which things are serving me well and which are ridiculously useless. Maybe I can plan out a new map for how I will manage the natural shapes of my cycles.

  •      3                                   9/4/09

    It goes way back. All the way to the beginning. But that's not what I'd like to think. I keep thinking there are new signposts all along the way. But what about Buddhism? That blames life itself for your woes. Once you're born you're in for it. Maybe that's like original sin.

    The important thing is to get a little perspective on the matter. To get an overview. There are deeper things than what Hollywood would like you to think make or break a life. Not that it's really Hollywood's fault. It's a natural mistake. You look to the people closest to you and closest to the present moment for some sense of reality. Why would something that happened more than 30 years ago be more relevant? We forget that we were once something other than an assortment of quirks. We were all possibilities. Life oddly brainwashes you. But the real you is not brainwashed. The real you is free and easy. Malleable. Observant. Non-reactive. We just forgot.

  •      Illbegotten                                   8/13/09

    Geographical fix. It's fairly ridiculous to think of how much of my life depends on geography. Of course I'm not exclusively talking about my exterior life. My inner moods and reactions are deceptively connected to my surroundings and my proximity to the people who fill up my past and present (and future, even if only in fantasies). It's also hard to keep track of the morphing that takes place when I travel. Sometimes I travel to visit one person, or to distance myself from another, but it's easy to overshoot your target and end up too close or too far away from the persons in question.

    I can also be duped (upended) when I travel for business or tourist reasons. A particular environment or city can bring up feelings and recollections that end up affecting my dreams and bent. There's that old cliche, no matter where you go, there you are. That's what's so deceptive about geographical fixes. Your intertwined souls have their own needs and reasons, regardless of surroundings.

  •      Tinder                                   7/5/09

    I think I know why I like to eat. It's because I am alive. Hunger affirms aliveness. That's the other side of the coin of desperate, void-filling overeating. It is the irrepressible joy of affirmation (or affirmation of joy), although taken a bit too far sometimes.

    The desperation also comes in the form of holding on to that happy feeling for dear life. Or trying to multiply it, intensify it. I think I do that in my music, too. I push my joyfulness or sorrow or any edgy expression to its brink. And I guess it gets me into trouble there too, physically and also interpretively.

    I eat overexuberantly because I am afraid the day will come when I will not feel that exuberance about living, and somehow stuffing my face will either make up for that lack later on, or delay its onset. The day may come when I do not have the inclination to eat. I will not have that absolutely wondrous feeling associated with hunger and oral fixation. So what I have to remind myself of is that I can simply enjoy the present association of hunger, eating and joie de vivre without fear of the future, or sadness over what is not delightful in my life. Maybe it's another way of saying, simply be pleased to be alive!

    On another topic, I noticed tonight that the level I must attain of muscular rest needs to be greater than the average person's. I have to rest as vigorously as I work. This refers specifically to cello-playing muscles. It could also apply to anyone's focal points of physical exertion.

  •      Junction                                   3/25/09

    The Buddhist stuff is amazing because I keep finding it proven in my daily activities and experience; I have to work very little to convince myself of its veracity. I also like a philosophy that has its roots in the truth of everyday life rather than seemingly arbitrary edicts and deities. Indeed, there's just enough of an unknowable, afterlife element to qualify it as a somewhat comforting religion instead of just a philosophy.

  •      Bander                                   3/25/09

    I'm still stuck on the prostrations I put myself through unnecessarily. Why can't I avert the hoops, mind games and overstraining and get right to the well-balanced enlightenment? I have a theory about that. (I know someone who would groan at those words.) Is it possible that somewhere inside I believe that the best way to enjoy the high is to sink into the depths of despair beforehand? Is that my perfect setup? You see, if I skip that particular setup, it's just possible that I won't even know when I've hit the moment of elation.

    That would also explain why an identical situation feels so different on different occasions. It's the context, or what preceded it. This seems to go along nicely with the Buddhist philosophy I've been reading up on. Nothing is real; nothing is as it seems to be; all is impermanent in this life. The high that I think I am feeling is only thus by contrast to the low. The goal should be to bypass all of these swings up or down, and keep your eye on altruistic aspirations for all sentient beings. I'd like that.

  •      Mmm                                   3/23/09

    I took a few days off (George Benson doesn't really count) and when I came back to playing, I was somewhat lost. This can be a good, refreshing feeling of newness. And it was in some respects. But I felt lost in terms of my left hand research of late. There was one thing that had stuck from the most recent investigations, though. I was noticing another option in how to make contact with the string. You could simply lay your fingers down on the string using weight or strength or something physical like that; or you can become sensitive to the electrical impulses traveling from the hand to the cello. Humans are actually alive due to some version of electricity, I've heard. Without it, we die. Like our heartbeat.

    So instead of pressing on the string, I am buzzing through it. Zapping. Vrooming. Humming. It's fun. And easier.

  •      Barter                                   3/14/09

    You may be asking what it means to grow up. The usual cliche meaning is to take on more responsibilities. But that's just a part of it I think, because many kids have fairly hefty responsibilities. The distinguishing characteristic may be how one perceives these burdens and tasks. If you understand the purpose of the tasks, then you can make informed decisions as to when to undertake them. You can mold your responsibilities into an organized lifestyle, a life unique to your personal traits and passions.<

    Another adult quality is appreciation. Adults learn to prefer the complexities and burdens of life to the simplicity of childhood via gratitude. In fact, it's even better because if we're lucky, we can still enjoy the simple things during the interim between our tasks.

  •      Young, or not                                   3/9/09

    Self-sufficiency. What an odd concept. It seems so desirable. But its only use may be to allow one to bring something to the table of interdependency. Because once you have that ever-sought-after autonomy, what then? I suppose one thing you could do is continue exploring the vast nothingness of the soul and universe in perfect focus and isolation. I do fantasize about doing just that. But why am I so hard-put to actually pursue that path? One problem is that the fantasy of such supreme meditation never matches the reality. It could be that I am overshooting, imagining the final stages of a higher conscious state, when one only achieves that via hours and years of much duller and effortful sessions, lonely sitting on the floor. So, not surprisingly, I have not steadfastly endured such. I end up kind of weaving in between the fleeting pleasures of bonding with others and the similarly momentary high of a few minutes in solitude.

  •      Oho                                   3/08/09

    I wonder if good intonation for any single note is more dependent on the position and placement of all the non-playing fingers than on the playing one? Last week I surmised that the majority of the tension in the hand seems to come from the non-playing fingers, so this theory is an extrapolation from that.

  •      As If                                   1/06/09

    I suppose the beauty of brainwashing/rationalizing is that the element of spontaneity doesn't come into play much. That seems to be the hard part about true, sincere life. You never know when it will pop out of the woodwork or when it might disappear.

    I have heard, "Act as if." That may not seem sincere or organic, but at least it's up to you.

  •      Beautician                                   1/06/09

    People like to say that only very stupid or very wise people are happy. I was thinking that there may be some crossover there which could explain that connection. Krishnamurti talks about the futility and destructiveness of thinking. I would certainly place him in the very wise category; he also appeared a happy person.

    What about the difference between rationalizing and brainwashing? We all admit we rationalize at times, but is there that big a leap to consider us brainwashed? I think I get brainwashed many times a day. It's very frustrating if I end up believing for a time that I have discovered something that is real; the bubble is burst when I discover how easily I can be otherwise convinced. I seem to be swayed by pretty, shiny things.

    I am thinking that you may be able to develop the ability to choose the things that will brainwash you. If you are not under the misapprehension that most things represent some kind of reality, you could develop more wherewithal and say in what you allow to penetrate your mind and heart.<

    And God? Is he/she/it more-so a path to a docile, sheep-like mentality, or transformative spiritual interconnectedness? Or as previously noted, are those two states oddly interwoven?

  •      Curly Q                                   11/09/08

    I have naturally been trying to sort out all the info I gathered on my recent trip to Bloomington. That's the thing about Mr. Starker -- he condenses huge, complex ideas into succinct statements and demos, so you can be working through a few hours of lessons over the course of months or years. I suppose I had forgotten just how mind-altering his wisdom is. The only down side is his professorial shadow lingering over my shoulder when I teach at times. Maybe that's not so bad.

    One particular thing vexing me is the issue of the hooked first finger on the bow hand. What I have noticed is that when I let it relax and uncurl, eventually the other fingers compensate for the absence of its grip, thereby organically rebalancing the hand. I am also hoping it's not my imagination that my left hand fingers are responding in kind to this lack of hooking and curling. The question basically is, what is the minimum amount of this shape I can get away with without sacrificing the sound or control? Writing these words is tapping my sensory imagination, as if I can connect the release in my fingers to a release in other muscle groups.

  •      Gargantuan                                   10/10/08

    I am a victim. I behave like a victim. One aspect of that is turning the victimization in on oneself. Those feelings have to go somewhere. You try not to let them loose on others, so who's left but your little self?

    Maybe that is one odd thing we are never taught - how to release all those pent up feelings of hurt and frustration. It doesn't fit very neatly into society. You almost have to reinvent society to fit your needs. It's kind of like starting from scratch. You wake up and you say, "I am not going to continue following this path that is so ill-suited to my own happiness. But since this is the path laid out before me, I'm going to have to step off into the abyss and take this one moment as if I am a newborn baby. I shall be absolutely clueless as to how things are arranged in this world and how I'm expected to act. And just do this moment by moment until I find I am forging a brand new path." That is the precise opposite of a victim - one who determines his own destiny. It is also the opposite of a victimizer/abuser. Neither sides of that particular coin are making choices of their own. Their lives are waking nightmares, recirculating past events with no expectation of awakening to the beauties of the now.

  •      Dark                                   8/22/08

    Ahh, friendship. It is so clean. Not like love. But it feels like love. Without the dirt. It feels like love is supposed to feel. I get the two mixed up. Maybe they are less separable in the human heart than the mind believes.

    The mind wants categories. The mind is a buffer.

  •      Bar None                                   7/12/08

    I am only as able to relish life's offerings as my level of openness permits. I cannot pick and choose what I will open myself up to or what I will bar from my life. Everything is dependent on an overarching quantity and quality of trust. I don't like this aspect of life? Then I don't get to enjoy this other thing that I yearn for, because they are at equal levels of intensity. Tough luck. So much for Utopia. If you think you're going to find your Utopia, achieve your nirvana, think again. Because any amount of intense joy and pleasure invariably opens the gates to an equivalent amount of annoyance, displeasure and sorrow. Sorry buddy. You have to take the good with the bad, as the saying goes.

    The icky things I've chosen to bar from my immediate existence should be bothersome enough to be worth what I'm giving up on the sunnier side of the spectrum. That's a tough call, but at least I should try to be more conscious of my capacity to make that decision.

  •      Bender                                   6/17/08

    I seem to vacillate between a mechanical and an emotional approach to natural cello technique and performance. It is only those rare moments that I can muster both at the same time.

    If I make fresh headway in my emotional and personal development, I often find that I can use those insights to assist my musical expression. Music is not all that different than life, although applying that maxim is easier said than done.

    I have recently noticed that I tend to skim the surface of my relationships, mistaking fleeting euphoria for true joy. So I reasoned that I am probably doing the same thing with my music-making. When I then tried to open myself up to riskier, more global sentiments, I felt more at one and at peace in my interpreting. It's like it resonated inside me more, which reminds me of something Sebok loved to talk about. The path to wisdom is rarely found in a straight line.

  • -
  •      Pan Fried                                   4/25/08

    I see, I see! No extraneous movements! No squirming, no fudging, no second-guessing! That's how I will beat the beast of left arm exhaustion. It's been there all along. I'm sure Starker harped on it repeatedly, in me and others. But now I'm ready to use it.

    I see now that any moments of epiphany always involved this approach. It's kind of like the middle way. I had to test the waters of all the edges in order to wean myself down to the simplest point of motion.

  •      Portioned                                   4/18/08

    The last thing I want to do is write about truthful things. I will expend all my energy in attempts to avoid introspection. I will go through every emotion, shop in every store, practice every exercise, water every plant. I will eat every peanut, watch every show, drink every smoothie, shoot every basket.

    I am pacing myself, you say. Maybe. I am learning through all these external activities and relationships, you claim. Could be. Then why does it feel in my heart of hearts that I am simply running? Simply averting my eyes? I certainly get annoyed at that heart of hearts. I think I want it to leave me alone. But is that true? Isn't it my only salvation? I am a giant jerk to it. If I were see-through, translucent, what would be visible on the inside? Some red, burning shapes? A community of characters in chaos? The truth would become evident.

  •      Baby Brain                                   2/21/08

    I'd just like to know why nobody ever explained to me about the correlation between total looseness and total fitness. Why have I been wasting all my life fooling around with the stuff in between? I need some direction occasionally, like everybody else.

    The incredible thing I've observed is that those two elements are quite compatible. It reminds me of Tamino, a cat I befriended, who was simultaneously completely at rest and loose, and like a springboard ready to pop. We used to call him the perfect athlete. He was like a fluid - ever modulating between the differing physical and energetic states of being.

  •      Lancet                                   2/03/08

    I'm funny. I don't think things affect me. Ha! Just 'cause I don't keel over with a seizure or aneurysm has nothing to do with whether I have escaped scot-free from an abuse, either self or other-inflicted. Maybe I'm not the most sensitively created being in the universe. But each small act I engage in has at least an equal repercussion on who and what I am in the ensuing hours and days. I'm glad I googled scot-free, because that's precisely not how I end up after any sort of indiscretion.

    Another wonderful truth is that I cannot separate different parts of myself from eachother. I am one organism, and each part is linked to the rest. I guess the question becomes, to what degree are these things linked? Well, that depends how deep you look.

  •      Malnourish                                   2/02/08

    There is a problem with having a strong constitution. It's a double-edged sword. While you're only minimally affected by bad things that happen to you or that you inflict upon yourself, you have great difficulty developing strategies to encourage healthy behavior. It's hard to say who ends up better off: the weaker among us who learn quickly how to live correctly, but eventually cannot handle what life throws at them; or the stronger ones who can withstand severe abuse, but never end up learning how to take care of themselves, thereby succumbing to their own foibles.

    Another angle: pacing. Constitutional pacing. How quickly each person's body succumbs to harmful intrusion, both in the short and the long term. That is probably more apropos than simple blanket strength. If your pacing is gradual, then you must be particularly reliant on your wits to make your way through the maze of temptations. You're getting very little feedback from your senses or internal nervous system. If you navigate erroneously, you'll catch it in the ass later on. Or in the arm. Or the tooth. Or in that tendon descending from the kneecap. These toxins will build up, and you'll be out for the count for a good while.

    But the quick-paced among us are getting feedback almost constantly. And while it isn't pleasant, it's a good chauffeur to lead us in healthy directions.

  •      4 Pronged                                   1/25/08

    Rationalizing. We are all masters. Maybe that's more what distinguishes homo sapiens than any of those other erudite qualities like opposable thumbs or tool-mastery. I see how deep it goes when I observe it on the surface. Nobody likes to think they are rationalizing. But isn't it dangerous to assume that your motives are pure just because you are only minimally aware of who you are and why you make your choices? Ignorance is some funky ground to stand on.

    If you talk about the many layers of a person, you have to include the rich tapestry of rationalizing. I find the best way to behave purely is to stop fighting myself. Don't fear the reaper. Be aware when you use thin excuses for your lamer actions. Each time you wake up to one level of mindset, you ready yourself to bloom into the next. It will come when it comes.

  •      Red Rug                                   1/06/08

    So after I got over being sick this last time, I had some new insights on the cello. It might have something to do with the stubbornness thing, which by the way has pretty much returned. I am finally starting to see the advantage of keeping my left shoulder about as relaxed as my right, or at least as low. It's one of those new options I'm giving myself - broadening my horizons. All I can say is that I hope this isn't a passing faze. Impermanence is a bitch.

    I am trying to explain something more, though. In quick succession after the shoulder business, I deduced that 1) there are muscles that are useful to engage versus those that impede the goings-on; 2) there are muscles that are seemingly unrelated to the goings-on which play an invaluable role; and 3) I know quite well what I am doing, so I need to stop trying so hard because it only hinders the goings-on. Numbers 2 and 3 kind of take care of number 1 by default, so number 1 becomes an intellectual puzzle mostly rather than something actively applicable.

  •      The Limit                                   12/08/07

    Wow. What is it about home that sucks it out of me? What residual crap am I dealing with that has nothing whatsoever to do with my present life? Because I really am at a loss to discover what could be the instigator of my numbness. As soon as I got off the plane in Ft Myers I felt it beginning. By the time I got home I was ready to collapse into my useless routine. There is nothing remotely cruddy enough about my life here that would explain this reaction.

    In fact, I did some fantastic reading, writing and soul-searching on the plane ride from Detroit. You wanna see some? But wait, before I do that, let me just say that my growth and emergence from whom I have been to whom I could be is inevitably going to be slow and incremental. So I would be wise to cut myself a little slack. Okay, here's the quotation:

    Wisdom is seemingly a cure for what I frequently consider neuroses. The seeking of wisdom. The imparting of it. Wisdom may not be a static state of being. It must find expression. I like to be static, to find defining characteristics of myself, others, or situations, and label them or pinpoint them. But what if it is in the striving for this clarification that truth and beauty lie? Not to mention serenity and open-endedness? It feels like a paradox: motion, generosity of spirit, and active inquiry may be the pathway to inner calmness and balance. Maybe it is akin to yin and yang - one without the other is a spiral downward. Passion and reason, as Gibran says. He continuously attributes his higher sense of wisdom to observing the menial day-to-day lives of the villagers of Orphalese (The Prophet). Give and take. A giver needs a receiver and vice versa. What use is wisdom without confusion, and how can the confused strive towards anything without learned guidance?

    I guess one of the sources of my neurotic behavior is my need to find equality and fairness in the world. But maybe that is a flawed aspiration in the first place. That would lead to a stasis and eventual deterioration. For how does one determine the superior philosophy to use as the benchmark for a good life? Whatever and whoever are eliminated will end up being squashed, discounting any equality.

  •      Bleat                                   8/21/07

    I believe I am on the brink, the precipice. This seems to explain a lot of the things that are going on in my head, things which are very hard to explain to anybody else. It is very easy for me to be knocked off any kind of balance point that I may have found. Many things can do it. A dare is sometimes the culprit. I tell myself that I am feeling good and unperturbed, and then I ask myself how this may be undermined. I dare myself. Recently I realized that it probably shouldn't be that easy to topple my peace of mind.

    I have been on the edge like that for a long time. I have also ironically thought that I have an unusually strong sense of stability. Maybe it is simply an outcome of all the effort I am making to be stable and self-aware. I feel that deeper down I am truly on the edge. I expend a lot of energy concocting a facade to stabilize this. I would love to be able to address this directly, instead.

  •      Pinto                                   8/08/07

    Today I realized something at rehearsal. It's a good thing, too, and is as follows: I can incorporate the Perlmanesque approach I've been working on as an ingredient in my playing, rather than the whole entree. Having worked fairly steadily for the past few days on being utterly loose, I noticed this feeling cropping up this morning even when I wasn't focusing on doing it. I was trying to be relaxed in general, but the specific Perlman loosy-goosy-handed and -armed sensation is special, so I could tell when it arrived.

    It's more organic for me to continue on in my practicing with the semi-vague goal of simple non-tension, versus the somewhat idiosyncratic Itzhak way of doing things. I don't feel obliged to suppress the other positive influences on the health of my playing, either. They can be all friends and share space inside me, I hope.

  •      Iffy                                   8/05/07

    I played tonight here in WY. I was focusing on my relaxation goals. I noticed the response of my instinct/training in regards to my breathing. On different nights I breathe differently. Of course, everything changes on a constant basis. It can be rather annoying, but once a nice girl colleague at a music festival told me it's better than being bored.

    One thing I noticed about breathing is the continuum between total inhalation and total exhalation and the effect it has on my overall sensation. When you inhale it is a refreshing, invigorating feeling, and it gives a somewhat strengthening result. During exhalation, you feel soothed, calmed and loosened. It can make you feel like rubber.

    The troubling thing that happens in my head if I make strides, is that I get overwhelmed by the possibilities and permutations. I suppose that isn't helpful for any mental equilibrium.

  •      Porous                                   6/13/07

    I can see how I am different. I can see how I am not a conforming person. I view relationships in an unusual way. I view friendships like family. Maybe this is learned. I view love and friendship in the same basic category. All three, love, friendship and family, have an underlying quality which links them. Apparently this is something of a taboo idea. It is at least almost completely unspoken. People put up huge barriers between these three sentiments.

    Another way of saying it is that there are different kinds of families. Families can spring up from various sources. The idea of family is transferable. I could say the same thing about love and friendship, but for me, family is the purest concept of the three, so I can use it best.

  •      Blanket Statement                                   6/11/07

    Upon further investigation (a reading session with some friends) I better understand what makes music-making so elusive and challenging. The pithiness inside yourself I referred to earlier sustains you in the midst of creating the music. One can so easily cave in on oneself if not for that support system. The richness of the music, the grandeur and beauty, must be counterbalanced by whatever one might experience in the daylight of real life.

    The thing is you cannot substitute will power or intellectualization for life experience. That is the temptation, because it seems so much more efficient. However, the more time-consuming path of making my life enriching will actually accomplish what I need. And in the end it will be quicker. I won't keep going in circles, for one thing.

  •      Lefty Loosy                                   6/10/07

    I realized something. Music-making is really just the tip of the iceberg. It is the cherry on top. There are so many other ways to forge your way through life, to while away the hours of a day. Those things are the journey. Music-making is just a rest stop. The best music comes from an accumulation of many other things. The pith of those other things will determine the quality of the music. I have always thought you can work on music just on its own, but now I am changing my mind.<

    In addition, I can now see why too much awareness and self-reflection detracts from the overall quality of the music. Making the music be the focal point will unravel all that it is made of. Music should be allowed to be abstract. Unfettered.

  •      Apart                                   4/20/07

    What is loneliness? It's a feeling of an invisible wall between you and others. It comes from within or without. I spend my time trying to elude this feeling. But it has an alluring side to it in the form of satiation. The filling in of the gap of loneliness is truly an amazing experience. But it's a tricky little bugger, due to its depth. There are many layers of that cobblestone wall, and it acts as a guide directing you to this or that place in your heart. Then you must ask, is it always wise to follow its lead? I'm not sure. But if you ignore this particular feeling, the consequence could be worse than heeding it.

  •      Inverness                                        3/29/07

    So, the theory is, I can begin limiting myself (in a way) to behaving not like an angel, not like a devil, but somewhere in that gray area in between. If I can sustain this behavior pattern long enough, it will force hidden feelings out of me which I have heretofore masked via those extreme states, which are somewhat obsessive and highly distracting states, really. The more I sustain the gray, the more things will come out of me which I have kept hidden, and which are only doing me harm in there. I must just be normal. And I must be in a state to handle what comes forth from this theoretically more natural place I will be in, which is not one extreme or another. Just being.

  •      Untowards                                   3/23/07

    A friend of mine points out that I am highly judgmental of myself and others. It ends up making me extreme in my reactions and opinions. And neurotic. And impatient. It is all reflective of the ways in which I judge the world. I judge it by speed (impatient) and quality (snobby) and whether it serves me well (self-obsessed). But it all comes back to constant overseeing judgmentalness. It is my endless hamster wheel. Round and round. Back and forth. It is so comfortable and familiar, I couldn't even imagine getting off the ride, the merry-go-round, the miserable-go-round. But I could. It could happen. I could stop long enough to step off onto the real ground, the real universe. I think I do step off (almost inadvertently) at times. Do I know when that takes place? I think so. I feel different then.

  •          Sentence                                        4/18/11

    I have that Bocelli encore in my head.

    My bed smells weird - is that still the new bed smell?

    I released my left hand pretty well this week.

    I remembered some wondrous Starker tutelage while helping my young student.

    It's interesting to figure out where you are different and the same as your partner.

    It's getting hotter.

    I have to buy a pool fence.

    Cody is sleeping, but not at his normal time.

    I guess I should have a party.

    My dreams are intense when a virus is being fought.

  •          And                                      12/5/10

    Contrarianism has a close cousin, procrastination. They are easily interchanged and mixed up. Waiting for the last minute to do something is akin to doing it when it really can't be done well anymore, at a time that it really shouldn't be done in the first place. But for the contrarian/procrastinators among us, sometimes doing something at a late date is still a far cry better than never doing it at all.

    Of course I sometimes have a tendency to do things way too soon and too fast. It's the flip side to procrastinating. So perhaps being a contrarian causes extremism in many cases. You're sort of required to tap into the extremes, in order to get to the desired opposing feeling.

    It's just a lot of hoops to jump through. And I've been a little busy lately with actual life to accommodate these propensities in the way that I used to.

  •          Mellifluous                                       12/5/10

    Why is it that in the middle of a shower I get the urge to go work out, thus negating the shower? And why do I want to sleep in when I must get up but arise early when I have no obligations? How deep do my contrarian tendencies go? I used to think it was optional, just something I could put on to help differentiate myself from the crowd. But then, why did I want to differentiate myself? Why was that important to me? It must have had some deeper underpinnings.

    It happens to me all the time, really. And it's annoying when I would actually like to accomplish something. I have to play cat and mouse with my urges. I must outwit them in order to achieve a goal. If I want to answer a non urgent-business email, somewhere inside I need to be planning to do something totally unrelated to writing. Then there's hope of me doing what is opposite. Same is true for working out, unless I've somehow embedded it into my routine at the moment. But even my routines have to be interpreted as contrary to something else to stick to them.

    My stomach tells me it's already full when it's time for Thanksgiving dinner, but eat aplenty when I really shouldn't. My arms start aching when it's time for a concert, but feel great when I don't have any upcoming performances. See how deep and visceral it is? It's not something easily accepted either, because it's inherently opposite to the natural course of events. My mind is trying to follow and shape my life path, but my insides are making all sorts of detours.

    It's like I live inside a magnet or a rubber band. I'm being pushed and pulled along by an unseen North Pole or puppeteer pulling an opposite-handed string. Sometimes I think it's my soul's way of keeping me in a homeostatic state, keeping me centered in a way. Perhaps that's the good side of it. So maybe I should learn to give in to the North or South Poles and let them do what they're apt to do anyway, without intrusion from my conscious self. I do not really know what percentage of consciousness versus unconsciousness is really my favorite. It's a fluctuating thing which is not exactly under my control, but I can tell when it's out of whack, I guess.

    This blog affects that balance. Writing affects it. As does psychotherapy. They both seemingly merge the conscious and unconscious in a smooth way. You can keep track of the intricacies of the merging process there. But again, it requires either outsmarting or randomly falling into the correct circumstance to get to this place of symmetry.

  •          Barn Surgery                                       5/30/10

    Haven't posted for a while. Hope you've muddled without. I have a new diet. Eat until your stomach starts protruding, then stop. Seems easy, right? This came to me in the midst of back spasm hell. I realized that my back has to hold up my stomach at all times, not just in between meals. Somehow I thought it didn't count at the moment of eating. The post-meal big stomach was a necessary anomaly, I figured. It is not reflective of the true state of things. But I know the truth now. And I have a 15 pound weight-loss to drive it home.

    I got into breathing last night. It appears to be a good thing. Of course you can have too much of a good thing. But it's nice to be reminded of the centrality of breathing. How many muscles does it encompass? Umpteen. Maybe all. Including the muscles of the mind. I can overfocus on it, of course. I have to remember that it is both a causative and responsive reflex action. In other words, it can both create the looseness in the body and be a result of good body focusing. I should feel at liberty to play with that. Not get stuck in one direction.

    I got a crock pot. I've even used it.

  •         Thumbs Up                                      1/22/10

    I just noticed that there's a delightful bonus when I am at liberty to bend my thumb. I can phrase. I have somewhere to land after an up feeling. I am not up all the time. I can come down, musically and physically.

    It works both ways. If I bend my thumb, it helps engender the downward downbeat arrival placement in a timely fashion. And if I strive to make the consequence of an upbeat feel and sound right, I discover that a locked thumb impedes it.

    It seems to assist this when I have the thumb straight (but not bent backwards) during the upbeat. The thumb seems to play the music with me. How helpful.

    Another surprising twist is that these upbeat and downbeat thumb responses need not be on upbows and downbows. They can happen anywhere in the course of a bow stroke, as long as the music calls for the appropriate inflection. It is incredible, this pliancy and independence of the thumb.

  •          Mashenski                                      1/07/10

    When I get it right, everything seems to hum. The fingers just lay on the string with their own weight. The vibrato only requires a gentle wiggle. I feel a warm feeling of trust and ease throughout my body. It's like someone once said, the body is actually supposed to fall naturally into place, if only you could direct it appropriately.

    These good vibes this morning were a result of last night's practice session. I discovered a simple truth. In order to achieve a like feeling in all of the fingers, you have to arc them the same, and distance them equally from the thumb. The thumb must be willing to alter its depth. So it is deepest for the fourth finger, gradually getting shallower as you descend to one, until the thumb may not even be in contact with the neck for the first finger. I couldn't believe how obvious it was, especially since I'd never heard talk of it.

  •          Bing Cherries                                       1/6/10

    Why is it always my birthday o'clock when I glance at the time? Odd. The bobbing motion I enjoyed yesterday may have different implications than I thought. Even with my arm still, I can find comfort with the left hand angle and vibrato as long as I am playing slowly, with little or no rhythms. Once you add different note lengths and emphases, the position goes all to hell. But I think with the aid of the rhythmic bobbing, I can reconcile the distortions and imbalances. It forces a balance and symmetry to the arm/hand unit. It can be overused, as I was experiencing at work today, but maybe when used as a cherry on top of an already functional position, it adds the last crucial piece to the puzzle.

    I have also been futzing with my bow grip over the last many months, moving the hand closer to the end of the bow. I wanted to use more fingers than just the index to make sound, so having them touch the frog seemed like a good start. What has also happened is my thumb has become nomadic. It varies placement anywhere from the inner curve to the corner of the frog. I think I have become more sensitive to thumb-related issues of late, so I've been considering the exact role of the right one. It seems to be pushing (pulling) the bow to the right and up, which ends up driving the hair down into the string. But this particular direction seems best achieved with the thumb wedged into that corner next to the stick.

  •          Arm Action                                      1/3/10

    Upon further exploration of the left hand, I noticed that the arm plays an important role in providing balance to the hand. I like to use the chicken wing metaphor when describing the up and down motion of the arms. This helps distinguish the upper arm from the shoulders and forearm. When it's elevated, it also gives the hand a stabilizing table to connect to, requiring less effort from the wrist and finger muscles.

    But there's another arm motion, the forearm one. It correlates to vibrato, it was recently explained to me. It's like a pushing motion, or like when you gesture to someone to back away further. I believe the muscles used for this help support the angling of the hand and fingers. It's a little like having a prosthetic arm or a mannequin arm, where you can move the arm around while keeping the hand still. The arm is doing most of the work. The hand must be loose, of course.

  •          11                                      11/15/09

    I am sometimes in need of pencil and paper when I am at the gym, so I've resorted to using my mobile phone's little notepad for my mental machinations, as such:

    One problem is that I think conversation is not worthwhile if it doesn't involve kvetching about something. Is that rational? Is it rational to think that that leads to happiness? Am I aiming for happiness? Am I allowed to experience contentment? What would happen then? Would the world come to a screeching halt? I'd say it comes to a halt the way things are right now! I don't know about anyone else, but that seems to be the way I work. Or maybe I don't understand the word contentment.

    That took two note's worth of memory.

    How about this one, which may be inevitable at a gym:

    There are pros and cons to being attracted to many people while remaining faithful to one. The con is obvious - it's frustrating and creates an unraveling sense of yourself. The pro is less apparent - it is derived from the perspective making choices gives you. If you consider it for a moment, you will see how key it can be to a personal peace of mind. One cannot be monogamous and promiscuous simultaneously. You have to exercise choice to make the wiser decision. It's not just a decision - it's a long-term state of existence as you go along. That is the advantage of seeing the various angles of life. It's nearly impossible to determine the wisdom of things right off - initially, you're mostly swayed by emotion. It's only as you live hour to hour, day to day, that you can accurately judge how it all pans out.

  •          Millview                                      6/28/09

    Driven to distraction. There's a funny expression. Maybe I should research its derivation. It might have something to do with the alliteration. It seems to presume that one's natural state is non-distraction, which one leaves after some unpleasantries. I suppose it can happen that way. But I think life goes more frequently in the opposite direction. You reach the end of your distracted rope, thereby having no alternative but to find some kind of peace of mind and soul.

    Or maybe distraction is considered a good thing in our society, and in this statement. You are driven there due to the evilness of boredom and peacefulness. Non-action is a risky thing.

    There's a fine line between doing things as an act of expression or a means of distraction. It's easiest not to even know that there's a difference. I think this non-awareness leads naturally to mindlessness and boredom. But if you are more attentive to your environment, you'll find you do have a choice. A choice between doing things just for the sake of doing them, or engaging in an act of creation.

  •          Intertwixed                                       4/27/09

    I've had a couple of good days of musical digging with my friend. We've gone through my concerto movement by movement to understand what is being portrayed. I was reminded of Bull Durham in the sense of the wise adviser and the semi-mindless pupil (me being Tim Robbins). It's amazing to me how I can embody either role depending on the circumstance. Also how it is impossible to imagine myself in the alternate position during the other.

    Although I feel better physically simply when I am exploring and extracting things musically, I have also come upon another technical idiosyncrasy which I know you will care about. Focusing on releasing the hand/arm affects the opposing one in like fashion. I guess I already knew this, but now I am seeing the true benefits of this approach over direct relaxation. It is much less likely to backfire. I perpetually undermine my efforts to relax (!) by overdoing the relaxing mantra I am working for at the moment. I become obsessed over the body part in question to the exclusion of all else, and I end up quite imbalanced as a human being. You may be surprised how easy this is to do to myself.

    On the other hand, the indirect approach to looseness seems to prevent this overfocusing. It also has the benefit of affecting a more well-rounded proportion of my body.

  •          Bowler                                      3/25/09

    I was listening to JS yesterday playing a Bach suite. It is so easy to listen to, so direct. It seems to me that his bow is always coming from the most convenient place prior to beginning a note. Whether above the string or beside it, the act of traversing from there to the contact point is simple and non-stop. Then I was listening to JdP today, and I heard an utterly contrary style of making notes. She coaxes them out of the instrument. The act of starting notes for her is laced in mystery and mist. And don't get me started on what she does with them once they get spinning. Hers is a heart-wrenching and sumptuous listening experience, plumbing the depths of the world's soul.

  •          Billfold                                      3/19/09

    I noticed tonight that I sometimes have mini-explosions in my left hand when I play. Little baby spasms. It's a good thing I think. It may be a road to more efficiency. It is the briefest length of tension possible, and then you instantaneously fall into relaxation. There are many gradations of the spike as well, depending on the material. You can request from your mind and hand that it be an extended, shallow hump, kind of like a long slur marking. I was also somehow having the image of a volcano, with different types of eruptions. Having this as another parameter in the mix of cello techniques is rather effective I think. It adds a far greater range of control over tension levels.

  •          Limb                                      1/21/09

    I'm now trying to monitor my food intake more diligently. I've even started going to a support group of sorts for this purpose. I've met some nice people in the process. It's one of the 12-step groups. I've had some experience with other ones but took a hiatus for a while to explore other philosophical approaches to my instabilities, only to return when they became ineffectual. I have a nice array of addictive and compulsive options in my repertoire, so it helps not to be overly worried if I am having a good day (or week) with my dietary situation. I can always apply the steps to some other vice.

    Actually a lot of the steps don't pertain to the chosen addiction, but rather to one's life story and the not-such-nice things one may have a propensity to do to oneself and others. These correlate to the steps which designate some kind of higher power, helping to remind us that we are not all-knowing or all-powerful. To keep us humble.

    Humility is actually kind of a cool thing. But hard to sustain, as it turns out.

  •          Cruella                                      11/9/08

    I am now noticing that there are a number of things conspiring against my efforts not to curl my fingers. Pizzicato, vibrato, shifting and staccato strokes all have a tendency to encourage that shape. I must be vigilant in order not to fall right back into my old habits.

    Another ally I have is the thumbs. Although they have their own leanings towards hooking in the opposing direction, when I focus on keeping them more neutral, the fingers do respond in kind.

  •          Cheshire                                      10/11/08

    My monkey is fatigued. It does its dance all day, all night. It is the mind monkey. I had to laugh tonight in the middle of the Mozart Requiem as I observed its antics. I guess I never really liked the metaphor of the monkey, but now I am getting it. It has a lot of personality. It is actually your pseudo-self, your scattered self. Your externally obsessed self. It actually can seem very entertaining until one notices how tiresome it gets. That's why it's called the monkey. It's not going anywhere - it's a natural part of you. But it's important to distinguish yourself from it. Your truer self, one hopes.

  •          Pontoon                                      10/10/08

    I probably shouldn't begin a blog at this ripe hour, but it's been so long that I thought I'd at least give it a whirl. Hmm. C'mon, brain, do something. I have observed that I can have the kernel of an idea form in my mind, but to extract it out of its little corner is perhaps overly difficult. It feels like the parts of my brain in charge of different mental processes don't know how to work with one another. Like the links between them have been zapped or something. It's almost as if I've done drugs. I think I've avoided doing them specifically for just such risks. How annoyingly ironic.

    I've been baking. That is a fun pastime. And tasty. I've been discovering the beauty of Teflon.

    Maybe I should just sleep on it. I have been journaling privately. I start out writing letters to abusers, but it ends up being a more general sort of exploration of ideas. It's a good place to springboard from, though. Nice and pithy, I think. A good way to get the old shovel out and start digging around in the graveyard of my mind.

    Okay.

  •          Cheerily                                      

  •          Barley                                      7/30/08

    I'm enjoying playing pretty music. I hope it continues.

    I realized why I have been so interested in using every millimeter of the bow lately. Extending to the very frog and very tip extends my body motions just that little bit more so as to provide a greater sense of freedom and openness. If I'm not mistaken, I also think vertical movements of the arm(s) also enhance that feeling. These roomier motions aren't limited to any one bow stroke or note. If you space it out among many measures and lines of music, it accomplishes the same goal. For instance, originally I thought it only worked for long, slow bow strokes. But briefer notes that are placed in varying portions of the bow hair can convince the brain of the same sensation.

    As was observed last summer, coincidentally, deeper inhalations and exhalations also give terrific opening sensations. It's like your lungs are a bow, and vice-versa.

  •          Blanche                                      7/15/08

    I realize that I have evidence of my recent assumption about the mirroring of those around me. I have friends who seem rather adept in social situations. But when we have discussed their comfort level socially, they tend to say the same thing I say, which is that they are uncomfortable and insecure. This is one reason why we are friends, because we are coming from the same place. And eventually we find our lives have many of the same properties, despite all the superficial differences.

    Therefore I can see that, like it or not, seemingly or not, you draw your own ilk to you.

  •          Peel                                      7/14/08

    Those who may befriend you will simply mirror your level of openness. They will quite aptly sense your propensities and determine from that whether to approach you. I probably don't give people enough credit for being sensitive to the internal give and take in this world. Signals are constantly being passed around. But they are primarily not conscious.

    I ought not bemoan a lack of friends or a lack of fun repartee in chance meetings during daily activities and errands. There is no reason to expect others to be more open with me than I am with them. Or differently open in ways I may yearn for. They do as they see and feel.

  •          Bintle                                      7/9/08

    I'm sorry that it's less natural for me to write about happy moments I have. You may get the idea that I am miserable non-stop. I actually am fairly shy about my happier feelings. I think I want to protect them from being obliterated by those who would hurt me or mock them. It's safer to divulge the pain than the pleasure, so it seems. But I just had a happy phone conversation where I expressed feelings of affection and bondedness. I thought you should know.

  •          Tinder                                      7/5/09

    I think I know why I like to eat. It's because I am alive. Hunger affirms aliveness. That's the other side of the coin of desperate, void-filling overeating. It is the irrepressible joy of affirmation (or affirmation of joy), although taken a bit too far sometimes.

    The desperation also comes in the form of holding on to that happy feeling for dear life. Or trying to multiply it, intensify it. I think I do that in my music, too. I push my joyfulness or sorrow or any edgy expression to its brink. And I guess it gets me into trouble there too, physically and also interpretively.

    I eat overexuberantly because I am afraid the day will come when I will not feel that exuberance about living, and somehow stuffing my face will either make up for that lack later on, or delay its onset. The day may come when I do not have the inclination to eat. I will not have that absolutely wondrous feeling associated with hunger and oral fixation. So what I have to remind myself of is that I can simply enjoy the present association of hunger, eating and joie de vivre without fear of the future, or sadness over what is not delightful in my life. Maybe it's another way of saying, simply be pleased to be alive!

    On another topic, I noticed tonight that the level I must attain of muscular rest needs to be greater than the average person's. I have to rest as vigorously as I work. This refers specifically to cello-playing muscles. It could also apply to anyone's focal points of physical exertion.

  •          Binders                                      6/20/08

    I've known musicians who conclude that in order to be happy and fulfilled, they must find more meaning in life than simply excelling at music-making. Although I have explored many other facets of life, in my heart I never really left the womb of music. I have even suggested to people that everything they do should be in the service of their music, philosophically speaking.

    I guess today at the bookstore I found a chink in that armor/cocoon. There really must be more to life than music. There is obviously more for 99% of people in the world. Maybe it would have to be a birth of sorts for me - and just as difficult and shocking to my system. Maybe that is one of the main loops I get stuck in: I try to expand my cello-oriented perspective, find it too daunting and alien, and soon fall back to where I started. When I peruse my blog entries, I see how often I have felt like I cannot grow or progress from a place of dissatisfaction, no matter what steps I take. This could explain why.

  •          Borrower                                      6/4/08

    It's the oddest thing. I am one day out of my orchestra's season, and I feel utterly different sitting at the cello. I am able to focus on a different array of technical and psychological facets of playing - perhaps better ones, I'm not sure yet. It once again proves to me the inexorable link between the mind and the body.

    Something I had attempted to describe to a student started to manifest itself as I was practicing - the role of the different right hand fingers. I said that the first and fourth fingers are not really doing the brunt of the work, they are more like steerers. It's the second and third that are in the thick of it. Generally I've found I can demonstrate or describe things to students far more effectively than I can actually do them when left to my own devices. Teaching is so interactive. It is infectious. If I teach the kid something, I catch it too.

    I also noticed that when I enhance my awareness of the right hand fingers, the left hand ones respond in kind. They become more sensitized. When the subtleties of the bow control increase, it gives me the possibility of finessing the touch of my left hand further. I often find my right hand/arm is my left hand/arm's teacher.

  •          Lean-To                                      3/19/08

    Here is some of my journaling from today: I got worked up in rehearsal. I always get worked up at rehearsals. I start out okay, if I'm lucky. Then I start losing myself. My true self. Then my fighting, venting, passive-aggressive self begins to take over. Then it's over. It's just a question of how rapid the descent.

    I guess it's hard for me to think about the future when I am secretly (even to myself) ruminating over past events. I would obviously like to be able to plan future events. It would be more fun to have an idea of how my life might blossom and grow, or even just scheduling a nice vacation trip. I guess I feel lucky to make it one day at a time due to the burden weighing on me from unresolved relation(ships).

    I'm back. Actually the rehearsal was a positive experience for me. I started out in quite a different place than my usual work/musician mindset. And there's really only one possible explanation. Self discovery. I know for a fact that my self-awareness and wisdom directly affect music-making. It ain't no theory.

  •          Lacadosic                                      3/15/08

    Human. I am one, apparently. Against all I've been taught to believe, I am but a guy, with the full gamut of weaknesses and foibles that goes along with the gender and species.

    If I can courageously accept this humanity, who knows what may lie in store? If I am allowed to err, I may end up taking a risk once in a while. I may also relax my ever-present vigilance and tension and simply enjoy the act of being alive (versus the alternative - dead and buried). I have found that it is pretty sucky not to fess up to my humanness. You end up getting sucked into all the negativity of other people who also aren't enjoying their humanness.

    I did recently play one concert with this in mind, and it worked out quite well. Allowing myself to be vulnerable and trusting of my most essential self took a weight off my shoulders. It gave me a psychological calmness which radiated to my physical state. I ended up being far more tension-free than when I am only focusing on my physical state. I also ended up unintentionally removing the burden of feeling irked by those around me, being that they are just human, too. Imagine that!

  •          Bigg                                      2/27/08

    I have made a list of things which I would like to trace back to their familial roots. I have been continuing to journal about finding my place in the puzzle which is my family of origin. Here are the categories I would like to investigate:

    Money, Food, Exercise, Work Ethic, Sleep, The Arts, Emotional Expression, Religion, Rebellion.

    These would certainly be a good start. I can tell already that comparing my feelings to those of other family members will uncover many sources of my tendencies. I can take almost any topic, really, and trace it back to its roots in past generations. I can also take another family member's personality quirks and attempt to do the same. It seems to be a deep wellspring in the pursuit of self-knowledge.

  •          Morning Musings                                      2/9/08

    I feel sticky 'cause I ate cheese. The oils come out in my pores, I guess. Happily I have this new Burt's Bees cleanser that feels tingly and smells lemony. It's much gentler than the Lush tea tree oil soap I've been using. I also have the Kiss My Face line of olive oil bar soaps for general shower use. Just position some rosemary and oregano on me and I'll be ready for the oven!

    That Mahler 4 refuses to depart from my brain. Even something so great suffers from umpteen recyclings inside a human skull. I wonder if that's one of the ways you know you're obliged/destined to be a musician. Maybe it also depends on how it is reproduced in there. One of my teachers used to idealistically talk about how crucial the ear, both external and imagination-based, is in creating a final product on the instrument. I say idealistically because it is so far removed from the mundane practical advice one is usually given from teachers and coaches. For me, bringing philosophy and abstract notions into discussions of cello playing was quite fruitful. I suppose it is akin to my own way of conceiving music-making.

    The laptop edge is leaning on my abdomen in an annoying yet gratifying way. Perhaps I should return it to its resting place and get the heck out of bed.

  •          Bilateral                                      2/1/08

    I am splitting my reading time between two books - a mystery and an anti-sugar tome. I love the contrast. Each one seems to feed different parts of my brain. Following the unfolding of the elements of the mystery taps my concentration and steadfastness. It's soothing and meditative. The dietary book piques my curiosity and raw emotion - it is unrelated to the elapsing of time. It forces me to reflect on my preconceptions and everyday actions, comparing them to the new information put forth page after page. I can absorb it a little at a time, like a snowball building up inside my food consciousness, until I am armed with to-do and not-to-do lists in that realm.

    But the mystery part of my brain quietly ruminates over the plot and characters all the time. I have formed a subconscious bond with the aura and storyline of the book. There is nothing like that with the anti-sugar one. Once I put it down, it goes its separate way, as much as a book can go anywhere. It is a practical experience.

  •          Resist                                      1/26/08

    I took a nap before the concert tonight, and it gave me an ease at the outset of the performance that I don't often feel without a great deal of concentration and (non)effort. Last summer I blogged about trying to play with utter looseness, a la Perlman. I felt it oddly unnatural and unsatisfying to not exert much effort, perhaps due to the contrast from what I am accustomed to. Tonight I remembered another phase I went through - Krishnamurti immersion. He frequently talks about non-effort, non-conflict, non-worry and non-thinking. They are tantalizing concepts, but the last time I perused one of his books I was less than taken by his philosophizing.

    I like the idea of extending the technical issues I have on the cello out to the rest of my existence. That's of course been a great quest and fantasy of mine for decades.

    As the concert progressed, I gradually lost that pleasurable ease. It tends to be fleeting like that. It's as though I like to have something to butt up against. I like friction, resistance. I need them, more to the point. I realized that I also like to hear other performers with some of that taste for friction. I am unmoved by totally comfortable, unperturbed players. It's like watching a piece of cardboard play music.

  •          Glamour                                      1/18/08

    I have noticed that when I cheat on my diet, I cheat again shortly thereafter. I have two theories to explain this. The nice theory and the nasty theory.

    I could be feeling like, "Well, I survived this misstep okay. Who's to say I won't be fine if I did it again? Surviving it only proves that I am fine with it. I am more powerful than a silly milkshake, right? Maybe it's even a step in the right direction. Who really knows? It's good for the soul. I'll just go ahead and have some more of that icky thing and pretend it's only the first infraction. Every time is the first time. I am untouchable, unflinchable, indestructable. There is no cumulative effect, because I am not an organic being. I am a robotic superbeing. I just need to change my oil, buy some spare parts, polish up my brass coating. I can simply upgrade."

    Or there's the underbelly version. "I slipped. It was inevitable. Did I really think I could exercise enough self-control to resist that? I'm a hopeless case. I may as well do it again, right? Now that I've started, I've proven beyond a shadow of a doubt my weakness of character. I only feel that rush of good feelings when I am validating my self-hatred. So go ahead and succumb 100%, why don't you? Live it up. Then die it up. Who'll really notice?"

  •          Too Informative                                      1/13/08

    Rehumanize. That was the word running through my brain last night. Don't be such a angry robot, as is foretold in those Ghost in the Machine songs. I'm glad I threw that back into my cd player yesterday.

    It reminds me of my previous ideas about a journey versus destination approach to fulfillment. It's my hopping from solution to solution which is really more than half the point, although I do need those landing pads to hop from.

    So last night it was Rehumanize I was landing on. And it had a slightly different meaning to me than in previous listenings. It was about letting go, not forcing, not using negativity to accomplish things. And I noticed how nicely it dovetailed with my previous blog's (1/06) enumerated points. It was a more soulful, organic version of trusting that my hands know what they're doing and being open to seemingly unrelated muscle groups participating in the music-making (goings-on). It encompassed those things and much more, plus it seemed less like mental trickery and more like spiritual comfort.

  •          Lionizer                                      11/17/07

    I'm reviewing my library in search of answers. I have seen my emotional roller-coastery self of late. I feel I am in a good place to pull back and reflect. I must feel a certain stability right now, as though I've been through something dangerously wonderful, or wonderfully dangerous, and lived to tell the tale. Also I've been practicing pretty regularly, which has a grounding effect. I am still a walking advertisement for neuroses, but somehow I'm just that much more composed.

    So I have reconsidered the possible sources of who I am and why I do things. I have come back to something called borderline personality disorder. In reading my books on it, I would have to say I am borderline borderline. The reason it is called borderline if I understand correctly, is because it didn't quite fall into any readily identifiable psychiatric categories at the time the name was coined in the 1930's. It borrowed symptoms from various illnesses and seemingly arbitrarily glommed them together, based on the patients observed. Nowadays it is an established disorder. I myself only have a portion of the symptoms, which is why I say borderline borderline. I also feel like the name borderline aptly describes my feelings in life generally, kind if like I'm in a no-man's land between normal, functional, real-life society and a weirder place of my own making full of dreams and emotions of both wondrous and frightful nature. I am straddling the two almost all the time. It is rather frustrating because I feel I cannot commit to anything 100%. I only know how to exist on that borderline.

    I think that is why I spend much of my time not being particularly productive. Non-action is the best means I can come up with to guard against falling off this fence. I guess I feel either choice is going to be a disappointment. Any choice, really. Of course I do have to make choices sometimes, but I try to keep them to a minimum.

    The choices I make are usually fine. And the dreams and fantasies I muse upon are generally of a reasonably pleasant or useful sort. The trouble is this dang-blasted split between the two, frequently leaving me in limbo, a dead heat of indecision. Thankfully I have found that writing helps bridge the gap.

  •          Piecemeal                                      11/17/07

    I've come to better terms with my nail situation. It is a funny sort of balancing act, just like a lot of things. And as you get more familiar with a given issue, it is easier to seek that compromise amidst the outer edges of its variables. In the case of the fingernail issue, there are the subtleties I alluded to in the previous blog - appropriate length, frequency of clipping, angle of the left hand, specific adjustments in certain positions with certain notes, shifting questions, etc. I am glad that I have aired this out. I hadn't realized what an important factor it was in restricting my choices with regard to general left hand cello technique. It was essentially unconscious, which as we all know can be quite a powerful place to undermine things from.

  •          The Nile                                      10/27/07

    I now realize what a friend at IU was talking about. Sitting on the floor in one of the hallways he described a fingernail/cello quandary he was having. At the time I was still an avid biter, so I couldn't see how normal length nails would undermine his playing. Now that I actually use clippers instead of teeth, I am running into the same difficulty. Don't the left hands' nails get in the way? I never limited my biting exuberance particularly in the days when I bit, but now I find a maximum shortness for comfort during clipping.

    What seems to be the case is that there must be an tenuous alliance between the nail and the string. It primarily involves the first and second fingers. I haven't worked out exactly which positions are affected. There does appear to be a further issue of extensions, which changes the angle of the finger and thereby the placement of the fingertip and nail.

    Does vibrato work with the nail? Is there a limited dynamic range? Am I degrading the string with frequent scratchings back and forth when shifting? Is the scratching audible to anyone but me?

    This issue came up at IU in particular because Starker tends to make adjustments to the angle of his students' left arms and hands. He is looking for consistency all along the fingerboard which should aid in consistency of intonation. He is brilliant at finding overarching structural and musical truths which apply anywhere on the cello and within any piece of music. Personally I felt a lot less lost after my work with him, making practicing a much more efficient and productive proposition. I think now I am discovering that I will naturally replace some of the encyclopedic rulebook which colleagues and I imagined he kept somewhere (besides his brain), with a few short chapters that are more deeply me. But I could never have come to this place of trust in myself without his anchoring to spring from.

  •          Burrs                                      10/18/07

    I have enough shirts. There's one deep dresser drawer, two closet shelves, a plastic bedside cubby, and various hung items. But I adore wearing new ones. Things just get old fast in my world. I need variety and unpredictability. But there are two problems: no room and no money. The room part would be solved if I did what I feel like doing, which is to get rid of anything less than a couple of months old. But these are perfectly good items. They only suffer from familiarity.

    Some things improve with age. Appreciation of life's many shades is enriched given time's passing. Instruments become shaded and nuanced. Things of true beauty perhaps all improve, though there may be a breaking point where either enough is enough or decay sets in. I don't consciously think about such issues, but I suppose I do make choices based on them. While I may think I'm going with my natural gut feeling about something, I could just be having some sort of knee-jerk, weirdly premeditated response to whether I perceive something as fresh and new and fun, or used and cliche and boring. It might only seem natural on the surface. Maybe that explains my new diet of the month, for instance, the Skinny Bitch. Is it great because it makes me feel better (both physically and ethically) or because it makes me feel different? This adoration of novelty is only part of how I make my choices, I know. I am (hopefully) using a complex assortment of drives, adding up to a given course of action. Unfortunately I err on the side of wishy-washy quite a bit, especially when no one guides me. I do better with a bit of nudging. I wish I liked being nudged.... It's okay sometimes.

  •          Briar                                       9/22/07

    I thought I would just check in in case anybody's paying attention. I'm pretty good, just sweating here in Naples.

  •          Lehigh                                      8/16/07

    I played on a chamber concert last night. What interested me was my relative level of tension. There seems to be an allowable quantity of muscular tension as I perform in contrast to normal playing, probably due to the adrenaline drug effect. The habits formed from innumerable past performances also contribute to this regressive tendency.

    I realize that I need to remind myself, in lieu of a teacher, that although I perform with more tension than I rehearse and practice, I am performing with less strain than in prior concert situations. As they say, I can try to remember to compare apples to apples, if I'm comparing at all.

  •          Larkening                                      8/14/07

    I somehow am under the misapprehension that you must be in a state of undue tension in order to make and emote beautiful music. I have been trying to relax as much as possible, as I have blogged previously, but once my initial tryout period fizzles out, I come back to what I must consider "real playing." The relaxed version of my playing does not register in my mental musical associations. It's like fluff. But I need to convince my inner self otherwise, not primarily for comfort, in truth. It really sounds superior on many fronts. It is really more in tune, and more ringing, and much easier to phrase and play around with colors.

    I guess I thought that by impersonating Perlman in a sense, the looseness would come about and be absorbed and assimilated by sheer emotionality and love and admiration. I suppose my love for my own musical taste and needs supersedes that.

  •          Almost                                      8/12/07

    Looking around tonight at my colleagues, I realized that I am different than them. Other people seem like they can let loose, do whatever they want, enjoy the feeling, the moment, and they won't severely injure themselves. They won't become fatigued to the point of incapacitation.

    Others seem like they have a natural ceiling installed within themselves which protects them from over-exertion. I sure wish I had that. Perhaps that goes back to my earlier discoveries about having a lack of boundaries. It's just very easy for me to overdo.

    So tonight I tried to stop myself from overdoing. Unfortunately I ended up underdoing, which is also a problem in the end. Maybe that's what other people are doing - staying within a certain range of action and thought and feeling. They're lucky, ain't they.

  •          All, Most                                      8/12/07

    By the way, the same also applies to food. I couldn't remember before, but I knew there were other uncontrollable issues. I cannot stop my food intake once I get started much of the time. So one of my solutions is to not get started in the first place. As you might surmise, that doesn't always work, or I would be dead.

    Let's also not forget television watching. Again I try the not starting approach.

    The annoying thing (one of them) is when I observe others who have far more ability to gauge what is their natural zone of healthy behavior. It isn't a constant uphill battle for many, at least as far as I can observe. And I do observe quite a bit when I'm in a group. I don't really bury myself in myself. I think I would get sort of claustrophobic without that outlet.

  •          Poor                                      8/6/07

    I've been discussing with my friend the merits of different laptops. It's a strangely entertaining topic. I guess I like tech-y stuff like cell phones and radios and dvd/cd burning equipment, blah, blah, blah. I don't feel I'm very adept at it, though, but the rudimentary things are handy enough to grasp.

    I have a small rash on my thumb. I don't know if it's a bite or what. It's annoying.

    I'm tired, in case you can't tell. I should go to my mushy bed soon. There's no particular reason to stay down here on the couch. I ought to also do my PM yoga, but will I?

    I hope (you) don't mind if I just make an entry.

  •          Lars                                      8/4/07

    I've been trying to lighten up - with my left hand, that is. I listen to Itzhak Perlman and watch his videos, and there is such a relaxed, easy approach he takes. I don't see the lack of effort doing him any harm, certainly, and it is probably quite beneficial. When I loosen up my vise grip it doesn't always give me the sound that I am striving for. I believe that once I get used to this freer, gentler sound, it won't bother me anymore. It also seems that by concentrating on my left arm, there is a spiraling effect to the rest of my body, and my mind, too. It's almost as if I have made one spot the focal point for all of the tension simmering within me, and if I let that go, everything else falls away, too, like a domino effect.

  •          Moron                                      5/19/07

    I got one number in the lotto!

  •          Wherewithal                                      4/17/07

    Mmm, it smells really good in here, like garlic 'n friends. It's warm for the cockles around here, with sleeping people and subdued lighting. I will be off to sleep soon, wide open to the truer workings of my soul.

    I like reading my own previous blog entries once in a while. I'm glad I say what's on my mind. It's perfectly possible that I am the one most likely to benefit from my own thoughts. And I do, apparently. I haven't been told by anyone I don't think (possibly one person?), that my writings are benefiting them in any way. That's okay. Perhaps that's none of my business. Perhaps the people whom I benefit are precisely the ones who prefer to be private about their feelings. I can definitely respect that.

  •          Of Dove                                      3/2/07

    I practiced last week. I wanted to do some honing after hearing pristine violin playing the other week. It works, funnily enough, that practicing stuff. But I find it also carries with it a risk factor in orchestra, that being over-fatigue. But now I see that that is only in the short term. Over a few weeks as of yet, it is becoming easier to play. I tactily know where I'm headed on the instrument, and I'm mentally less second-guessy and trepidatious. But this typing is a killer.

  •          Moribund                                      2/14/07

    One reason I don't write is because I am trepidatious to see what I am feeling in concrete form. I am troubled by my own natural instincts, by whom I am. If I write down my feelings, my ideas, my personal sentiments, then I become visible, not hidden behind my protective shell, less akin to a turtle. I have been compared to a turtle.

    So, this is why I go in and out of the release of writing. I also feel the need to experience life more directly at times, so I assess my experiences without pen and paper, just me and the world. Not me and paper and the world. Sounds contradictory, right? Is writing more direct or more concealing/analytical? It depends, as usual.

  •          Why, Oh Why                                      12/19/06

    The cello is a way for me to exhibit me, both to my own eyes and to others. I'm equally unpredictable musically as in real life. I am now surmising that most everything is equivalent. I was not trained to think that. But that doesn't make it irrelevant.

    When I play the cello I am thinking about and feeling the same series of ideas and sensations as in regular life. Why shouldn't I be? Any energy I am exerting to heal myself is just as easily directed to music-making. And anything misdirected in real life also falls short on the cello. I have always suspected that but I have never received solid confirmation from outside myself, so I couldn't take it seriously due to my difficulty individuating myself from others. Are some things the problem and the solution simultaneously? I can't individuate, but I must.

    The important aspect of this is how I apply this learning theory to my music. I need to be sensitive to how my feelings reflect in my performance. It's all in there if I listen for it. If I am feeling unfulfilled, for instance, I will create music in a stifled way. But it's not even that simple. Because like life, the music is in flux. The emotional journey and processes are more reflective than a momentary mood swing. It is trickier and subtler than what I might consider my surface state of mind.

  •          Tchaik                                      11/27/06

    I played four Nutcrackers. That's not so bad. The task is to not permit your playing to deteriorate. And that requires a lot of mental fortitude. Fortitude is an appropriate word because you need to erect a fortress between others and yourself.

  •          35, And Counting                                      10/29/06

    Being my birthday, it seems timely enough for a blogaroonie. I will quote from yesterday's "feelings journal" entry.

    Right now I'm a little tight, tightly wound. I spent the last few hours at home, alone, watching Clerks and taking a nap, eating tortilla chips and orange juice. I was entertained but still immersed in solitude. I was feeling okay, as far as I was aware. But I was also kind of walled in. I guess I chose to be in that isolated place. It feels familiar and safe. But it also tightens me. Now I'm aware of the tightness. Now that I'm sitting in the library at the Phil, writing, and in the vicinity of others, other warm bodies, warm personalities.

    Then later I wrote this:

    I finished the concert - it was a proud experience some of the time. I wore my earplugs to preserve my hearing, which was a comfort. At some point I guess a fragrance wafted to my nose which reminded me of my dear friend Rosalie S. The reminiscence was probably enhanced by the fact we were playing a Brahms symphony, one of her favorites. So for a few seconds I had that good feeling, good association. I actually tried to retain it, but it dispersed. I spent the later part of the concert partially beating myself up about my left hand tension. Perhaps ironic. Perhaps self-defeating.

    So, the fact is I have been writing a fair amount, but privately. I don't allot myself enough time to do that and blog. It requires a different mindset. It's similar to playing the cello with or without an audience. I also feel different depending where I am when I write. Maybe I should try to relish all these differences instead of having my good ol' buddy inside my head criticize my circumstances every step of the way.

  •          Halt                                      9/25/06

    Being that I am going down a new path here in my self-exploration, it could be prudent to do a bit more censoring of my innermost thoughts, feelings, and memories in this venue. I think I will start making a separate journal (although part of me doesn't want to) for the ickier, more specific things I am working through. Although nobody may be reading this blog, I do have a certain sensation like I am writing to somebody, sharing with somebody. Odd, isn't it? It makes it feel like what I am writing is relevant, my feelings are relevant and have meaning for others.

  •          And Then                                      9/23/06

    Yesterday and today my mind has been opened. I am rereading Love Is A Choice and responding equally strongly as however many years ago when I first read it. I imagine I have a different array and even a different level of things to reflect the information against now. I have kicks that I get on with different books and authors, or different people, and like I said in the last blog, I wish I knew where my central beliefs and passions lay so as not to sway with the breeze so much. I love a book (or a person) that states its ideas unwaveringly - I always have. When will I get to that point myself?

    I do feel like this particular book has many of the ingredients to help me dissect and then reattach myself to the world and to a life less based on ups and downs and confusing, fleeting passions. It speaks of a life which accounts for all the many layers and interests inside us all.

  •          Not On It                                      9/22/06

    I feel scattered. The things that keep me grounded don't always do the trick. If it's other people, myself, work, exercise/body awareness, finances, marriage, parents, nieces/nephews, artistry, or anything else, I don't know when I can count on it to satiate me. The same things that sate me also dissipate me. Where is my center? I assume other people have one, but that may be an illusion they are portraying. I do seem to like the people who portray it less. I prefer those who will admit vulnerability. They're the only ones who are interesting, who don't put me to sleep.

  •          Buster                                      7/30/11

    Tonight Cody almost gingerly flipped through the pages of my Wicked paperback for a good 10 minutes. He had no interest in stopping, either, when I hinted at him lying down to sleep. It was pretty extraordinary, considering how recently he has been destroying Dr. Seuss baby board books and the like, either by chewing or attempting a reversal of the binding. I was wondering if his respectful page turning has something to do with observing the way I handle the book when I am reading it both aloud to him and silently. People do remark on his observational bent, although they don't always interpret it as such. It can come across to some as a somber, slightly aloof affect. But if you spend enough time with him, you see that he displays that gaze when there's something worthy of study.

    He seemed to appreciate having a TV dinner-esque meal fed to him tonight. When he would tire of one item, I luckily (from some bit of experience) had other options ready at the offing. He ate samplings of Khwan's fried rice with salmon and egg; her couscous with tomato, ground pork, onions, cilantro, and other savories; some apple blueberry sauce; and Liberte strawberry yogurt. This was all washed down with intermittent sips of water, which he kindly doesn't spit out boxer-style anymore, and of course his favorite propranolol dose. His eating preferences are an interesting moving target, changing as he grows. Of course he is also a moving target since we've stopped bothering with his high chair now with his recent deep hatred of confinement of any sort.

  •          Snickety                                        4/18/11

    I would like to think that my ruminations in a sickly head have some application to a healthy head. At least I have a wise friend to advise and nurture me physically.

    Lately I cannot blog much because things are too jumbled. I cannot write more than one word at a time. I'm also embarrassed to air certain things. I don't know where the line always is between things I'm irrationally ashamed of and legitimate shyness or privacy. The shame is probably not good.

    That is why it can be good to get sick. You can do more hard-core soul-searching, and weed out some of these discrepancies. I have developed a very deep respect for learning. My first forays into it were more out of survival and experimentation. Now it is daily nourishment. I think this enjoyment enhances the value of the learning. I don't tend to question it anymore. I don't bother to second-guess. If I can feel that something feeds my wisdom, then I'm a happy camper.

  •          Barnacle                                      8/06/10

    I just realized a funny juxtaposition. I love to dream about the past, but I rarely allow myself to reconnect with it. I can hold it in my imagination but never hold it in my arms. That probably carries over to the present moment, too. It takes a lot to connect. There is this gap, some kind of vacuum wind tunnel barricading me. I end up being oddly choosy about whom I get intimate/close to.

  • -
  •          Cody                                       12/05/10

    Is it my usual conundrum of finding little to say when I am feeling happy and/or content? Am I incapable of talking about happy things? I guess I have an internal obligation that drives me towards a balanced sort of sincerity. Not rose-colored. If I am going to open my heart, it feels pointless and even derailing to leave out the yuckier stuff. Or even if I don't specify the details, my overall outlook must contain the mixture of the whole spectrum of experience and emotion. I have spent far too much of my life omitting. Either I omit the positive or the negative. Usually this is done to kowtow to someone nearby. Or maybe someone powerfully embedded inside me.

    I recently Kowtowed to someone, in the more literal sense of a bow. I felt a deep urge to show my respect and gratitude, and as I had witnessed this sort of gesture in the past, I already suspected what a powerful effect it might have. In this country we don't demonstrate this way to one another, but there is something inexpressibly connecting and rich about it, eliciting a sense of our humanity rarely achieved in other ways.

  •          Reading Lamp                                       7/09/10



    So are my awkwardness, indecisiveness, stubbornness, closed-mouth-edness, and all the other questionable traits all a reflection of something awry, or something good and possessing of integrity? Is life supposed to be easy and smooth and overtly fulfilling, or is it the struggle that signifies a right path? If I am uncomfortable with much of the expected behavior and status quo, what does that mean exactly? Could it be that I have an inner wisdom that is higher than society's? Higher than the societal norm? Maybe a bit like a Buddha. At least, this is the proposition for the evening.

  •         Bowling Ball                                      3/24/10

    Pandora's box. Another one of those expressions I should look up. Quieting the mind has the capacity to open one. It's a double-edged sword. You get a sense of what is really happening around you - it's extraordinary all the stuff you're missing out on in the cacophony. But, with the good comes the bad, eh? Why is it I don't mind the rush of positive feelings, but am so scared of the painful ones? It's logical in one way, but kooky in another. They should both be equally off-putting. Maybe they are. The good stuff is indeed fleeting, maybe for that reason. I am just as unable to handle it as the disturbing imagery which is hiding under the surface.

    Is that why religions tell you to wait for heaven until after you croak? Are humans ill-equipped to handle the extraordinary highs and lows of nirvana? I was tempted tonight. Tempted to re-frame. Tempted to look at things a little differently. With a different perspective. And something bizarre happened. I ceased fretting over the minutia which often occupies me. I saw. I witnessed. There it was, life. There were people, and objects, and sights. And of course sound. It was a concert after all. And it was a lovelier concert than I've heard in a while. Because I heard it differently. With new ears and mind. And then I got a rush. A joyous thrill. That one that others seem to get. It's the one gotten from just being alive. From just being, and being glad for it.

    But then I got another kind of rush. A more sinister one. The floodgates opened, and everything was allowed in. So I guess my mind had to close up shop. It didn't feel inclined to get to know those demons further. But it's too late. I now know the difference between being alive and being stuck. I'll be less easily duped from now on. With all the gradations and layers and nuances, it is really very simple. On or off. Open or closed. I don't want to go so far as to say alive or dead. But it might be right, eh?

  •          Diorama                                      2/03/10

    It's all in my head. It's all in my head. They're all in my head. Now who they are exactly is something of a question mark.

    There are a lot of them. They are hard to discern, so it often sounds like one loud voice. But it makes more sense that it is a combined effort. It's interesting, because I give people a pass, assuming there's no bad intention. They didn't intend to become a nightmarish mantra in my head. So that absolves them. Not that I'm really interested in blaming anyone. But fact from fiction is important here. One must accurately identify the culprits in the course of history, regardless of intention. You can only surmise intention. Even the party in question may not know their own intent. Intent comes partly from the gut, rather than the mind.

    There are those who have inadvertently or purposefully drilled their poison into my brain and soul. That is the situation, and I am left here to pick up the pieces and put myself back together. I must retrieve my shattered soul from it's little corner where it likes to hide from the nasties. It must supplant all the chaos and hopelessness. It's kind of like the Tao Te Ching, right? The strongest force is watery. The quiet, flowing true soul (the Way) has the capacity to erode any behemoths. Love is akin to this, too. If I were more in touch with my loving self over the years, I could have had some protection from those nasties.

  •          Pennies                                       1/28/10

    I've always wanted to give 110%. It's interesting that I think I can turn that off. It is my nature. I look for ways to express intensity. I can't convince myself that it is unstable and therefore undesirable. If I have managed to curb my appetite for unbridled-ness somewhat, I'm a little afraid to imagine how I used to be.

    I will suffer amazing amounts of pain in efforts to succeed and to drink in life experiences. I have two ways of behaving: 150% or 15%. All or nothing, basically. Somehow my brain and my soul are not tuned to those middle percentages; I don't even notice life at that wattage. Is that why cats like me?

  •          21                                      1/02/10

    I not only have issues with distancing myself - to the point of shunning - from the present, but I am positively prejudiced against it. I adore the past, and always keep a torch burning bright for the future. The present though, I could care less. I always am wishing it simply would disappear. And eventually you get your wishes. I wish dearly I could appreciate the present. And not just for a minute or two, and not just after a near-death-experience. I think that describes well what was happening there in South Dakota. All I needed was the present. I didn't need any Earth-shattering memories of the past or intense yearnings and plannings for the future. I didn't need my normally overwhelming fantasy life. I only needed to wake up in the morning. I remember telling people that, actually. Somehow a calamity puts things nicely in perspective. It's dangerous to have things too good, it seems.

    When I speak of the present, it means both the actual present moment, or more key perhaps, present day life situations.

  •          20                                      12/29/09

    Is it not enough to pursue the things which make you happy? Do I feel a true void in the absence of the sad, weighty things? Is it habit? Maybe it's a viewpoint which needs tweaking, maneuvering.

    Maybe I know what makes me happy, but I haven't had much practice immersing myself in those things. If I only touch upon them occasionally and reluctantly, naturally I'll still yearn for the other stuff I have become old friends with. The somber, melancholic stuff.

    Maybe my childhood observation about my multiple personalities should tell me something about the possible cause of my moodiness. I liked to talk about how frequently I felt like a different person. I'm sure each different person was in a different mood.

    I have observed that focusing more on what makes me happy engenders a state of mind which hearkens back to childhood. More unfettered mentally.

  •          19                                      12/25/09

    All the paths I have taken, all the roads down which I have detoured, few having completed, and yet it seems I have a path which is mine and mine alone. These other detours and disciple-ages have permitted me to continue on what ends up being the only way I was ever meant to go. It would seem I have an internal, natural drive, somewhat akin to inertia, which leads me from point to point in the epic of my life. I believe I and others are in control, but what they seem to be doing really is helping me not to fall off the tracks. It kind of reminds me of being a character, a protagonist, in a novel, rather than a person in real life. I sometimes feel a kinship with book characters, but I always put the book down and end up feeling more indecisive and meandering than anyone fictional. I have always assumed that is the deal with real life. You don't get the luxury of a script. You have to make it up as you go along. But maybe we are actually characters, just by virtue of having character. It defines us and determines our fates. It gives us inertial tendencies, like a magnet.

  •          18                                       12/24/09

    I'm not sure how long I've been catastrophizing. I thought it was a more recent phenomenon, but perhaps not. I think I often let my friends and family do the brunt of the catastrophizing for me, so I figure I am free of it myself. There's also the opposing trait - idealizing. I seem to have dreams full of that. Not to mention the trips my mind goes on in my waking hours.

    But why is it so different in my head, so one-sided, and then when I write or talk about it, everything changes? When I am thinking, it stems from some sort of raw emotion or physical sensation. When I am writing or speaking, it is once removed, at least, from the raw emotion. So you can reimagine the emotions, reconfigure them to help serve a greater, vaster truth than that stuck in your body and psyche. But what happens when I feel I have run out of material? Is there something else which is equally rewarding that I could do to reconfigure the wiring which causes the angst? Yes, I believe so. But there are a lot of deceptively pleasing or fruitful activities which don't provide the assistance or expressive qualities they have been deemed to. Or, if they do, I overuse and abuse them to the point that they cause more harm than good. It's that "ize"-ing thing that I am so drawn to. I exaggerate.

  •          17                                      12/21/09

    I was listening to JS yesterday playing a Bach suite. It is so easy to listen to, so direct. It seems to me that his bow is always coming from the most convenient place prior to beginning a note. Whether above the string or beside it, the act of traversing from there to the contact point is simple and non-stop. Then I was listening to JdP today, and I heard an utterly contrary style of making notes. She coaxes them out of the instrument. The act of starting notes for her is laced in mystery and mist. And don't get me started on what she does with them once they get spinning. Hers is a heart-wrenching and sumptuous listening experience, plumbing the depths of the world's soul.

  •          14                                      11/29/09

    Cognitive therapy. Working on actions instead of feelings. Ineffective actions. They probably stem from feelings initially. I am thinking that I learned these coping actions from some of the same people who caused the weird feelings. Maybe all of the same people. But the bad feelings may be passed on from their bad feelings, just like the bad coping techniques. So I am being misled into copying techniques which didn't work for them, either.

    This journaling seems to be a superior coping technique, versus some of the ones I picked up. For instance, I may have actually learned dissociation. I was assuming that it is an instinctual reaction to unpleasant or traumatic situations, but it could also be a learned behavior, I suppose. "Depression is Contagious" style of learning. Environmental depression. Habitual depression. My low-grade depression goes hand-in-hand with my lower end coping techniques. They get me by, but not in a high-functioning way. It explains why I don't let myself stay healthy for very long without an infusion of self-destruction. I am finding that comfort zone where I am mildly depressed.

    And there is another side - I am born with these propensities. They are both not taught and not reactions to anything. They are my biology. Or maybe they're a response to my biology. There's also my own behavior choices, which lead to ingrained ways of thinking and feeling - like being a musician might make me moodier or more solitary, or more introspective. Even being a cellist, to be very specific.

    So what happens is I cannot trust my own instinctual reactions or propensities. I have been taught or born maladaptively, so I live that way. I live sad or I live manic. But sad and manic are not happy. Although everyone wears masks, mine are more prohibitive than most. They seem less functional.

    I would like to accumulate a repertoire of pro-adaptive activities. I do try. They seem to come and go. They lie on the whispering wind.

  •          13                                      11/23/09

    If I pay attention, I see I am feeling hidden anger. Why must I wait until things get life-sized and difficult to manage?

    But it's hard to pinpoint its source. Is it mostly long-forgotten and long-dismissed incidents from long ago? It seems like it. So if I've disregarded the importance of those old feelings, chances are I never went through any grieving-type process. I never actually let myself get angry, or sad, or forgave anyone, or had any other naturally occurring offshoots from painful experiences.

    My tendency to hold in my anger, even to my own eyes, could be a result of my fear that if I start letting it out, it will overwhelm me and everyone in the vicinity. I also may perceive it as unclassy. Or maybe it will be underwhelming, and seem wimpy. It'll look like sour grapes, or like I'm a crybaby. Not like a real man.

  •          12                                      11/23/09

    The problem with anger is it's not a particularly constructive way of dealing with problems that come up in life. I mean, normal-sized problems. What would be better is to acknowledge whatever angry reaction you have to a situation, express or deal with the feeling somehow, and then be free to address the issues rationally. That's probably where things like catastrophizing come into play. That is an unholy combination of strong negative feelings and an attempt to fix the problem.

    I used to be admired or commended for my ability to let things roll off my back. Really I just deal with my negative feelings differently - I don't deal with them, for the most part. They come out in odder ways, through my behavior and my difficulty doing things. And my ruminating. But one way or another, they are there and they affect me all too deeply.

  •          8                                      11/11/09

    I hate feeling stifled. I am envisioning times in the past with no sense of that. Am I exaggerating reality? Falsifying memory? Living in the past that never really was? Why do I do that? It is so very confusing to not be in the present, and to misconstrue the past, longing for something that never was. That means you are left with nothing. No real, true memories and no present, and a deep fear of the future.

    And what is the cause of all this? Bad things that happened, which I am spending great energy denying, and which laid the groundwork for not living in the present moment. Not only not living in the present, but being deathly afraid of the present. Much more than most people, it seems. I am truly trapped in the nether-region between the non-existent past (which could be anything, really, since it is no more than dust now) and the intimidating present. Where is that? Nowhere, really.

    The past, present and future are all closed off to me, psychically. They seem to be laden with ghosts. Perhaps that was why a lobotomy seemed appealing for a time. Simple surgical removal of them. Seems so easy. But then you realize that the ghosts have great value, if only you could befriend them somehow. They are really the keys that unlock various doors.

  •          7                                      12/21/09

    I can be just as alone with other people as I am by myself.

    But I'm not alone, even when I physically am. I am really rather cluttered with company - all my ghosts. Like Scrooge. He had his 3 ghosts. And like him, my ghosts would be willing to teach me some things, if I could redirect their repeating tapes. There are ghosts whom I am drawn to (much more than is realistic or appropriate or advisable) and there are ghosts I detest (again, more than recommended).

    But all these ghosts keep me in a loop - their loop - and my life progresses at a snail's pace, if I'm lucky. I am stuck in a small room with lots of bodies - disembodied ones.

    But I don't know the way out, is the problem. I am good enough at ignoring and blocking out all the ghosts while in the same room. That is not a great accomplishment. Or is it? Are they that scary and problematic that I should consider myself lucky to eschew them temporarily?

  •          6                                      10/17/09

    I have happily noted that I am insane. I thought they were just whistling dixie when they were saying that doing the same thing over and over and expecting different results is the definition of insanity. I probably felt that I had no way of affecting any change over my expectations, anyway. Or my actions for that matter.

    It may be apparent that I tend to shy away from too great an abundance of positivity. So therefore it pains me to say that I made some sort of breakthrough. That I have been feeling a much lower percentage of sadness in the past week or so. My friend suggested I blog, and I do feel my soul is ripe for expression, but it is still difficult to sincerely spit out the words, "I feel better."

    The thing is, I would love to be able to get used to it. Imagine such a luxurious time frame of contentment as to permit trust in it. And if you are as uncomfortable with the concept of contentment as I am, don't forget that it is my version of the feeling. There will forever be room for valleys and gullies and meanderings along the way. I could not change my essence, right? It appears to be the more superfluous angst which I have been able to assuage of late.

  •          5                                      9/13/09

    I have written many journal entries recently, on paper. I didn't feel anybody needed to see them. It's not like some instances when I feel the issues are too personal. It's more a question of sharing. There's a side of me that just really sucks at opening up. Maybe some would wonder if there is another side at all. It is possible for me to be extraordinarily open. When I feel that way, I still have a glimmer of the closed, private side in my field of perception. Likewise when I'm feeling pent up - I know there's the other half waiting for its chance to shine through. But these appear to be equally true, valid halves of the whole. I can't just eschew one of them on a whim. Man, I wish I could sometimes. I want them to be friends, partners, gracefully navigating through daily events and interactions, but particularly internal swings. External events are much less reliable and critical than the odd, uncharted biological hills and valleys which sear through us hour to hour. It's quite a trick knowing when our mind, heart or body will summon up sensations which we then need to live out in some way. I am sure these are not accidental nor incidental; they have little to do with what goes on around us.

  •          2                                      8/22/09

    No, no, no. I feel the need to rebel. It is not such an easy act for me, as it seems for others. To put my foot down. Either in a defiant posture or in true passion for something. I tend to hold it in, letting it out in fits and starts when the opportunity arises. I need to make more opportunities for myself. Then it might not be such an exercise in keeping the horses gated in when it comes to my heart and imagination. Let the air out of the balloon, slowly but surely.

    It's interesting to find the myriad ways of doing this. It has been one of the most personal quests I have ever undertaken. This is something few talk about, at least in my circles. People are a tad surprised about this blog, for instance. They didn't know I had it in me, or had an urge to express it like so. It is rather a natural act for me to write this. It's my exhibitionistic journal, you know. I would not have been able to foresee the usefulness and serenity this brings me at times. And that is true for many things I have dabbled in. I have to leave myself open to trying things which may seem to contrast with other aspects of my life. The greater risk seems to be too much closed-off-ed-ness, so it's safe for me to keep my options open.

    There's also a temporal side to the experimentation. Knowing how long and how often to stay in a situation or a feeling is equally important to the acts themselves. Time can be your friend or your enemy.

  •          1                                      8/20/09

    Left to my own devices... Why must that be such an imbalanced state? Can't I just be left alone once in a while? Must I always feel I am teetering on the precipice of making all the worst choices for myself if I have no one to lean up against and be guided by? I am noticing just how emotional it all is, not sufficiently logical or intellectual. I am not really an idiot. I know reasonably well how to be a functioning member of society and how not to be an assortment of self-destructive behaviors. I am just way too infantile in my reactiveness.

    Oh, no! I have once again been abandoned! I will wither away and die! Where is my mother's breast to suckle on? What will provide some modicum of comfort in this total void in which I find myself? Isn't there one person who loves me in all of this world?

    It is great when you find rapport and solidarity with those whom you spend time with. It is crucial to have that give and take, that pushing and pulling of personalities and passions. I think I might also need to acquire that in my solitary life. In other words, there is no such thing as unadulterated solitude. There always need be a flow, an awareness and participation in the yin and yang, the attraction and repulsion, the artist and the scientist, the cleanliness and the disarray, the mob and the hermit, between yourself and the surrounding community. Maybe my own devices are not as much my own as I originally thought.

    Perhaps the difference between an infant and myself is the capacity for creative spark. I do not need to rely on someone else to make known my innate contributions to the universe. I do not need to wait until someone translates my feelings in order to compare and contrast them with those around me, eventually collaborating with my brothers and sisters of humanity. I am my own flower, capable of however much blooming I opt for at the moment.

  •          Anti                                       5/20/09

    Judging from the last entry, it seems that jumping from quick fix to quick fix has been a failed system of living. But it's also no surprise that I would be trying it. When you need relief from life as badly as I sometimes do, you will attempt many far-from-center approaches. You will readily refuse to see any truths that may be comfortably sitting on a bench beside you, wondering when you will simply turn your head and see.

  •          Martyr                                       5/20/09

    So who out there can handle real life? I want what you have. I strive to be near people who appear to handle it. It calms me. Too bad it's nothing but a temporary balm.

    I try to keep things on an even keel. I try to stay free from vices. I try to be wise in my decision-making. I try to learn from my mistakes. I seek out wisdom from those who seem to possess it.

    It is my instability and my neediness which are the problems. But why do I feel like they are a natural reaction to the world around me? I have never blamed my sensitiveness for my problems, because I only see it as an asset. I would like to retain that supposition.

    That leaves something else as the culprit. Is it society? Yes. Is it my history? Yes. Is it karma from previous existences? Perhaps. Is it my lack of judgment? No, I do not want to blame that. I don't think blaming a part of myself is helpful or deeply true. Hating myself is a reaction to something else that is going on, not a cause.

    I used to like to say that the only place I felt right was onstage during a performance. That realization came later on, in college. Before then I didn't even comprehend the ridiculousness of my emotional situation. I can handle the unhandlable much better than normalcy. It's ludicrous. Or is it? Is what people call normal life really so straightforward and simple? And is getting up in front of hundreds or thousands of people to perform and express something unique so daunting? What if that's the only time you feel like you are yourself? Like you are unencumbered and free. Why is it I feel that time stops when I am performing, but the rest of the time, time is a weight on my head, taunting me not to fuck up this minute, this second, this year, this life, not to make the same mistakes I've made innumerable times before, ones that cause me to not sleep most of a night, or regret what I've said or didn't say, or wonder what in the world I've been doing for the last three hours.

  •          Ain't No Mountain                                      3/24/09

    Last night we did the dangerous duo of operas, giving me ample time to test out my electricity theories. They were effectual for a while, but eventually I needed other tricks up my sleeve to retain any sort of left hand comfort. What seems to always be the outcome of nights like that, if I'm lucky, is a funny Zen state where everything just falls together in its own rhythm. All the theories which could sometimes seem contradictory - electrical connection, tiny spasms, only tensing the playing finger, breathing through things, non-interference (allowing things to just happen), and any of my other dissections - they all fall into the background of the magic mental state which I cannot plan for. Of course it's frustrating to think of why I can't skip the middle man and go right to the dessert course. Maybe I would get bored. I would have no mountains to scale, then. I would be content.

    Often the Zen feeling comes over me after I have tried a few of my tricks, and I sort of give up. It seems nearly impossible to get that given up feeling before having given something up. I have tried.

  •          Darn                                      3/13/09

    Is it possible that I actually grew up when I was about 17, and have been fighting it off and on ever since? Scary thought. Such deep levels of denial. And such a deep distrust of adulthood.

  •          Hearthen                                      3/09/09

    What happens in that hole I fall into? It feels like a hole because I can't really see out of it. I am too far in.

    Am I supposed to question this hole? Even though this is how I perceive my reality? To question my perception of reality is to have a high hope that I can somehow alter my reality. This is a difficult concept when one is feeling weighed upon.

    If I am sunken in a hole, does it follow that I had been above ground beforehand? Like floating? Because it has been postulated that if you are on solid ground, you are less easily disturbed than if you are in an excited or ecstatic place. You have the best perspective if you are in a central position, rather than on one end or the other; the futility of existing on the edges of the spectrum is more easily seen.

    Because if I try getting myself out of my hole in hopes of bouncing back to a flying euphoria, is it not possible I am again setting myself up for another crash and burn (bury)?

  •          Laugher                                      3/08/09

    I still wonder if I am the way I am because of different incidents in my life, or if I always exuded these traits. It's a funny mind-bent to take yourself back to those possible key moments when something external may have altered your very fabric in some way. I wonder if it is really any more odd than thinking about internal, inevitable human-development turning points, even though one may appear so much more organic and natural than the other. External changes have certain obvious events you can reference - birth, first day of school, first crush, first fight, first summer camp away from home, first concert, first love, marriage, children, mortgage, etc. - whereas internal ones have a morphing quality that's at least as deep but much more elusive.

    I have also been an observer of the different levels of gentleness possible with any psycho-spiritual changes. It seems to depend how the new information is presented. Reading books is usually much gentler than being thrust into a baffling new social situation. However, these many intensities are important in crossing the various rites of passage, I believe. And even if they are not, they seem to be inescapable. I find the best way to truly figure out where the point of balance is on any philosophical pursuit, is to experience at least some of the edges that comprise it.

  •          Byron                                      3/02/09

    I am beginning to suspect I am a liar. You know, knowledge of one's capacity for lying may not be as easily come upon as you might think. Self-awareness of liars must have varying depths, all the way from the rationally scheming to the pathologically embedded. And it may vary day to day, week to week. I wonder if lying to yourself is a prerequisite for a perpetual liar. That may again be determined by the type of liar you are.

    It occurred to me that I may be an overall unwitting liar when I began to realize that most people throw around the terms honesty and true self in ways that I haven't been able to realistically attempt since my young childhood. Somehow, to me there are generally too many layers to things not to have a sense of backtracking after every supposed honest statement I make. But the question becomes, do those layers represent an intricate reality, or a superimposed complexity resulting from my deceptive, duplicitous tendencies?

    This notion oddly comes as a relief. Although it is somewhat tragic to think I am something of a lying bastard, it does help to settle some of the incomprehensible quandaries I have dealt with most of my adult life. Maybe I can begin to unravel the spools of knotted up philosophies and emotions.

  •          Intone                                      7/31/08

    The other question is whether I have a greater or lesser need for socializing than other people. I used to claim, even to myself, that I liked being something of a loner. But now I wonder if I was simply trying to make some sense of the way I related to the world. I didn't necessarily enjoy being alone, but it was preferable to making the herculean effort to have pleasant banter with acquaintances.

    But I felt a little more at ease today after venting and formulating hypotheses here last night. I could observe others more clearly, more objectively. Maybe that's the first step towards the ability to approach others in the miraculous way they approach eachother.

    I also felt myself breathing differently. I noticed that when the breath stays inside my lungs, it permeates out through the limbs and fingers. I don't necessarily have to take breaths, deep or otherwise, to benefit from the presence of air in my body. I just have to use it, be sensitive to its presence.

  •          Looseleaf                                      7/31/08

    Could I tell you everything? If not you, then who? Can I try harder to talk to people? Real people, not an imaginary reader person? When I feel I want to open up and share, where ought I turn? A shrink? A friend? Which friend exactly? Why am I afraid I will be taken the wrong way? Is it such a disastrous turn of events if that happens?

    I see people engaging in conversation, in social interaction, in levity, laughter, story-telling, joke-spinning. Are they acquiring the feeling I am yearning for? The feeling of release? The feeling of disclosure, of open-endedness, of candor? (took me awhile to think of that word) (I hope it was worth my time, my interminable time)

    I can DO a lot of things. But it's simple living which wonderfully eludes me. I admire/envy all those who have that gift/knack. They open their mouths and delightful CONVERSATION comes out. Regardless. Under umpteen circumstances. And from that comes activities and group bonding and a continuous sense of a life being lived. For me it has to be a rather controlled environment to get the old gabber going. Or I have to be in just such a mood. Or something.

    I read a book about improving social skills that said you must lower your expectations of who you'll talk to and what you're willing to talk about. I tried that for a while, but in the end it didn't seem natural or relevant. Perhaps what would be better is to be better at creating and asking for the people and situations which I really do want to have as social environs. To somehow not be fearful of their adverse reactions to such requests. Until that time I shall utilize you, dear reader, as a friend in kind. I do love you, as if you were right here hearing my most heartfelt confessions. I don't have to make any special arrangements to have this time delving with you. I just had to have this wondrous blog created for our mutual use. I'll meet up with all of you someday, in person. It won't suck, like those other social situations.

  •          4 a.m. Self-Talk                                      7/17/08

    Is everything connected? Is my personality the dictator of other things in my life?

    I am waiting for the natural progression to adulthood to continue. I don't want to believe that I missed the boat, that the ship has sailed. What would it take to complete that step? Is it possible in an instant? Or many instants strung together? Is this journaling a first step? It always seems to help to journal like this. It helps sort out my jumble of ideas, to give me some direction to go in. Instead of wallowing.

    I am still stuck mimicking others. I have not been able to determine my own destiny, make my own decisions. That's why I say I'm not a man, but a mouse, a child, a girl. I live a vicarious life. But it's almost funny that I think things can or will change without me changing first. It's funny that I think things are so compartmentalized that way. It's silly. Everything's interconnected.

  •          Barn                                      7/09/08

    If you are feeling half dead, is that a bad thing? I would say so. It means you aren't able to enjoy the pleasures (or pains) of being alive. It means you can't tell if you are doing things because you genuinely want to, or if you are just trying to keep yourself out of that pit of despair. And the same goes for decisions. I frequently feel I could go either way on matters, and the direction I do go is chosen out of convenience or fear, not from true desire.

    Sometimes I am more aware of my mild depressiveness than other times. But I am essentially noticing that I have one foot in the afterlife all of the time. I have quit. I cannot see any better alternative than death. Perhaps that is always the third choice in my decision-making process: should I do this, that, or just simply die and put an end to all options? It seems odd, though, because my rational mind has a multitude of reasons to relish my existence. That must be why I forget that I am some percent suicidal all of the time. There is no good reason to depart from here, from the pleasing life I lead. Just last night a struggling musician scooping ice cream was commenting on how joyful I must be being a full-time artist.

    What can I say? The best explanation I've heard is that I am fractured. I don't get to enjoy the differing parts of one human's life. I am denied access. For instance, the part of me that can appreciate making a living as a musician is not hooked up with the part of me that plays the cello full-time. I have extremely brief moments of connection, and therefore satisfaction and joy, but they are unsustainable.

  •          Biped                                      6/28/08

    I think the things I enjoy the most (without simultaneously making me feel like crap about myself) are things I do out of choice. As the catch word of the day puts it: interactively. What I was wondering was to what degree one can choose one's actions? Is 100% even within the realm of possibility? If you get a good 40% or so going, that's fairly good odds already, right?

    When I say 100%, I mean that you are getting no assistance whatsoever from outside yourself, and you may even be getting resistance. But you nevertheless make your chosen move. It seems there is always some level of give and take coming from your environment, directing you and convincing you and nudging you towards different decisions. They come from both the past and the present, the here and the elsewhere, the corporeal and the spiritual.

    Much of my difficulty in life stems from the low percentages I am getting. I have a very hard time sticking up for myself. There are special situations where I have higher percentages, but I can't seem to instill that gutsiness in other arenas.

    Thinking in terms of gradation like this is a comfort for me. Normally I get stuck in an all or nothing perception. This will help me feel I can work little by little.

  •          Barnyard Blues                                      6/26/08

    All or nothing. Yesterday's attempt to curb the use of balms on my soul was fruitless. I balmed away. So the next question is, am I any less compulsive than in the past? It is exceedingly hard for me to determine that. I would love to take others' word on it, but there is a deeper place that their words cannot reach.

    My friend recommended meditation. I was just thinking of what to do if I've excluded all restless, wasteful activity, and I immediately thought of meditation. Perhaps I can explore that today. The other way of looking at it is to try to do less of any given thing. To be less overblown in my actions and passions. That is also akin to a non-exaggerated approach; simple, in the moment, one thing at a time, which I can only imagine becomes like meditation. Maybe it's very Western of me, but I may be best at handling activities meditatively, rather than the true act of meditation.

    So the risk of all this is still there: feeling my very own brand of pain. And the converse risk: feeling pleasure that I am direly aware can lead rapidly to pain. I guess that addresses the question, what's the point of recalling happy memories: you are in truth recalling a time of openness and trustedness, which left you equally open to joy and sorrow, to paraphrase Casals. It was the time in life where you're largely accumulating experience from the world. Later you must process those experiences and incorporate them carefully, having accumulated enough.

    I noticed that I sure talk a good talk. But when it comes down to walking the walk, I'm sorely devoid. What I'd like to be able to do is have a better sense of any progress I may be making. It doesn't seem to be enough simply to make the progress; you need to occasionally rest on your laurels. To take more of a bird's-eye view at yourself, so you can actually tell whether change has taken place. Looking at things so myopically is generally quite discouraging. But it does make you good at analysis. Perhaps a good teacher? Not that I only deal with minutia in my teaching, but it is good to have it as an element.

  •          Balmy                                      6/25/08

    I use music and many other things as a balm on my soul. I seem to be pained from deep down. It's a pain which is semi-constant, varying in degrees. The pleasurable feelings I have been recalling from childhood must also be counterbalanced by painful ones. That would also support the maxim about not feeling one without the other. Of course as an adult, I have a third option of feeling nothing. Or rather, always self-medicating, applying the various balms available to me. They are distractions.

    So, about the pain...

    If I was happy and warm being in bed with my parents, I was unhappy when I had nightmares. I was unhappy when kids at school ridiculed and excluded me. To tell you the truth, I don't really want to know what made me unhappy. I don't want to remember in detail nasty feelings of pain and humiliation. Unfortunately the choice is that or running for the rest of my life.

    I wrote a journal about what were the negative experiences in my life. Remember? Must I continue to rehash them?

  •          Out                                      6/24/08

    I definitely have an odd relationship with perfection. I jut back and forth between seeing it everywhere and seeing it nowhere. Between not caring about having it and accepting nothing less. Very jarring. It seems to stem from the fact that I still see Mom and Dad and probably my siblings, too, as the perfect people that no one is.

    I never outgrew the idea that love is always about feeling unconditionally happy and nurtured. I cannot see the good for the good and the bad for the bad.

    Am I just a naive bastard? A naive boy? As I've noted, I remember feeling unconditional love in our household, as well as other relatives' households. I keep my eye open to that sentiment to this day. Is it a feeling which is not appropriate for equal relationships? Equal partnerships? Am I taking it a bit too far?

    So I am perpetually comparing this to that. But I don't realize what I am doing. So there is no way to address it. But it undermines everything. And I mean everything. Either directly or by means of avoidance.

    If I do something other than play the cello, I am questioning the wisdom of one of my parents. Unbelievable. So not only do I love them unconditionally, but I also fear them unconditionally. There is the disturbing aspect to this.

  •          Bye-ing                                      6/22/08

    I am looking for that buzz. I am searching for those endorphins. One idea is that they are there, inside me. I need not expend all of my energy in a quest for their source. It is right in front of my eyes, really.

    I self-medicate. In all sorts of ways. But in my efforts I am masking the natural remedy which is here. I think I am a peaceful man, but instead I am fighting any truths which I am privy to. I am a ludicrous warrior. How boring. No wonder I am so often bored. Fight, fight, fight. How monotonous.

  •          Wheew                                      6/21/08

    I just noticed that mood-altering attempts actually worsen my mood swings. I have naturally wide mood fluctuations. Perhaps accepting that fact could help me restrain myself from artificially controlling them.

    I engage in an activity that appears on the surface to make me feel good. And maybe it does. There's the trouble. Once I am under the spell of this external high, my internal barometer loses its centering abilities, however ineffectual they may be, and I have to take a great deal of time and concentration to eventually regroup and find my spiritual balance.

    I might consider enjoying my own natural highs and lows, leaving the external, imposed ones to others who are less volatile.

  •          Boon                                      6/17/08

    Speaking of inward inquiry, I wrote this not long ago...

    So, where does my shame stem from? Do I deserve to be ashamed? Did I harm someone else, or was something done to me? These are questions just as much for the heart as for historical accuracy. What does my heart tell me? Can my heart differentiate between one and the other? Abuser or abusee? If so, which one is worse? Are you supposed to shed your shame if you are an abuser? Or do you need it? To keep you in check. Is that more guilt than shame?

    The trouble seems to be that something is eating away at me on the inside. Which is good. It is my checks and balances system. I only know something is eating away because part of me wants to be behaving in healthier, freer ways, and is being foiled. So my body/soul is telling me I am in conflict; it's giving me signals. Sadness, compulsion, addiction, loneliness, isolation. These are signals. Flares. Although quiet ones. But they feel loud and overwhelming in their numbification.

    I cannot simply enjoy life - like the beauty of this day. Like the beauty of being alive. That is how I know there is inner conflict conspiring against what is natural, natural pleasures of life. I am overwhelmed with distrust.

  •          Bank On It                                      5/03/08

    How many different levels do I have to operate on? Is it possible to address different facets of cello and life without each one conflicting against the other? Can't I focus on emotionality without technique butting in? Or concentrate on relaxing without sound quality making forays? Or legato continuity without first finger joint pain? Do I need to make a list of everything in hierarchical order? What about my daily routine and activities? Same deal? I wish I didn't have to micromanage myself. Haven't I done that before, with little staying power?

    Am I perhaps existing in a pendulumic world? Are there varying sizes of pendulums which must be kept track of? How is it I don't find others who are on the same nuisance-ridden journey as me? Where are all the other pendulum swingers? I've been asking around lately, and I do get some minimal acknowledgment of the issue, but it appears not to interfere with others' lives like mine.

  •          Pinwheel                                      4/28/08

    I'm stuck. I'm fulfilling a role set by someone else. My actions are dictated by another. Societal parameters. And I feel alone. Alone and stuck. The one I can talk to is never in my present. Only past and future. Only imaginary. Maybe that's not true. I do open up to people in the present. But it's hard to recall because I close myself off just as quickly. I don't sustain the openness. So they are fleeting moments. Do they add up to something? Maybe. I think they do accumulate. But they never seem to add up to what I am hoping and yearning for. Is this a philosophical, emotional, or psychological issue? Are they different? Is my problem dietary, disciplinary, auditory, or what?

    If it's a beautiful day outside, should I be happy? (philosophy) Should I expect happiness to come my way? (since it has in the past, for however fleeting a time) Can I provide happiness for myself? Or do I need assistance? Assistants? Am I supposed to know the answer to any of these questions, or just ask them? Does not knowing the answer condemn me to some sort of sorrowful existence? Maybe existence isn't so static as finding the answers and then being contented. It's the searching which is so important. So don't stop! Don't be ashamed to be continually inquisitive.

  •          Betwixt                                      4/23/08

    Ahh, my shame. I see I am ashamed due to my shame. Seems reasonable, huh? I end up being ashamed to be me. Thus I do what any ashamed person would do: hide in a cave or wear masks. The troubling thing about shame is that you can't even look yourself straight in the eye. So what are your chances of letting someone else get a glimpse?

    That must be my greatest fear. I hide behind the supposed fear of not liking other people, when what really concerns me is whether they are going to like what they see in me.

    It seems if I can work past this underlying shame, I will be able to be more myself around others. I won't be so constantly fearful of others' judgment. Judgmental people tend to have a lot of sway over me. Their personalities confirm my own predilection to judge myself. People have varying degrees of judgmentalness, but almost everyone has some. I do feel it can turn in on itself quite easily, and that perhaps it starts out turned inwards, later going outwards.

    When I'm working on my problems successfully, I feel different. I can be more in the moment with other people, less caught up in some neuroses or another. I am less worried about whether what I say or do will violate some law or societal norm. I feel I have calmed the bumpy waters of my soul, so I don't constantly interrupt the flow of life, of a day, an hour, a minute. I sometimes feel that I must check myself so often, I cannot make it through any activity in some semblance of peace.

  •          Grassy                                      4/18/08

    Now what was I thinking?

    My deep loneliness is connected to my deep sense of shame. I cannot feel a human connectedness, which is really my birthright, due to my distrust and fear that I will be further shamed. I never figured out how to heal my initial shame, so I inadvertently locked myself up in a box of untouchability for safety's sake. No matter how great the conversation, or how good the camaraderie, or how varied and interesting the day-to-day involvement with the outside world, it is no use. I am stuck here in my cubicle. And it's an unpleasant cubicle. That's why I must distract myself. A prime example is sleep time. There are no daytime distractions left to protect me from my pain and self-flagellation, so I use the eensie weensie voices on talk radio, playing nearly inaudibly. I know someone else who has a thing for radios. I do believe it would be safe to say the word shame can be applied in that person's heart of hearts. But it is really an endearing quality from the outside, most of the time. It imbues just a touch of likable desperation. That is inevitable where shame is concerned - a compulsion to be accepted, since you have none for yourself.

  •          Snipets                                      3/23/08

    Everything becomes a cliche. Everything already is a cliche. Would you rather be a self-aware cliche or an oblivious one?

    I refuse to value myself, even just enough for basic tending to my needs. I have severe confidence, self-love issues. So isn't it safe to say I would be hypocritical to accuse someone else of a more harmful version of the same thing? At least in anything other than a compassionate way?

    I seem to have a terrible time with honesty. It eludes me when I long for it. I spend much of my time dancing around the truth. Or else I am ridiculously blunt. It's one extreme or another. I suspect I was taught this propensity.

    Interesting that lying was the one sin in our house that merited punishment. Is that to say that honesty could be forced into you? Maybe lying was an attempt at a different sort of truth-telling. One that tended to be overlooked or squelched.

    I am left with a great deal of confusion regarding how to negotiate honesty in my life. Where does it come from, within or without? How do you know if you're lying or being secretive? Stretching the truth might be between the two. Or exaggerating or filtering out elements of the total picture. It's one thing to have some level of privacy, and another to shun truths from yourself. To suppress your own knowledge and experience from yourself doesn't seem to help anyone. Least of all myself.

  •          Moo                                      3/19/08

    It's all stuck inside me. I wrote for an hour last night, and I feel I just scratched the surface. It never ends. I can reread my past journals and marvel at the discoveries and openings I stepped through. But it's as if I reset myself after a short while. It's as if I am starting from scratch. This is why I feel I must trust the little feeling that says there is so much more yet to be unearthed.

    Part of me would like to think I am 10 or 20 or 40% through after an intense venting session like last night's. Maybe I delved into a few topics to some degree. But there are indeed umpteen more to go. I always like it when I have a direction to go in. That comes from an outside source of wisdom like a book or guru. That can be my impetus for further self-exploration.

  •          Why                                      3/18/08

    What made me so vulnerable in college? What makes me vulnerable now, to this day? What makes me weak, powerless to think my own thoughts and take my own steps? Isn't there a reason why I am always second-guessing myself?

    I am now coming to know the reasons. But should I tell you, o reader? Can I actually be forthcoming, if only here in this odd un-place? I would like someone to know. This seems safe on the surface.

    Is it possible I have been beaten down into submission all along the way? But, of course, always with a smile, or a candy, or a dollar bill. Not in the more obviously harmful ways I was later exposed to and was by then defenseless against. Isn't it time I told the story of how I came to be such that I am? How I ended up impotent. And speechless. And rich with melancholy.

  •          Circle                                      2/20/08

    Nothing quite like ringing the doorbell at their homes. I remember it vividly. It got to be my honor when I was big enough. Then their embrace. Ahh. Simple joys. As simple as being alive. That's what family means to me - some of the deepest joys I have ever known. I remember hearing about unconditional love later on. It seemed utterly redundant. I never knew another kind.

    As far as I knew, all the other stuff were the inconsequential details. The soup, the candy, the music, the cards, the bed, the couch and table. They were all awash in the warmth of love around and inside me. Each relative was a new chance to experience these feelings, in their own unique flavor. I was spoiled, insofar as I was granted such affectionate abundance.

  •          Blab                                      1/10/08

    If I'm not mistaken, I am afraid of perfection, or at least the attempt at it. I know some people who are afraid of emotional expression. I seem to have an irrational fear of accurate expression. It feels like my introverted version of rebellion, actually. Someone recently asked me how I rebelled as an adolescent, and I said I didn't really. But I suppose if there's one primary way I undermined the status quo of my life, it was laziness. I have since discovered that discipline is a choice, not just a personality trait.

    One aspect of discipline is self-observation. That is how I noticed that I quite specifically move and think in ways that throw off my accuracy. So then I asked myself, are these behaviors serving any positive function? And if not, what exactly are they doing there? That's how I arrived at the sensation of phobia. A wall. A hot spot in my psyche.

    Even the non sequitur titles of these blogs could be my way of throwing or including a wrench in the consistency of the format.

  •          Caricature                                      12/27/07

    I am stubborn. But I can only see it clearly when some part of it falls away. Like my insistence that the way I like to play the cello is the only and best way, for me at least. Something happened recently, though I'm not sure what, that has changed that locked-in point of view. There are a number of possible external events which could have combined to cause it, or perhaps it's an internal emotional or biochemical thing.

    Whatever it is, I now have been granted the freedom to make headway in various areas of my playing which have been weak. What is so nice is to see the difference between stubbornness and strength of character. In my case, being stubborn prevented me from seeing options which were rather close at hand, if only I had not boxed myself into what may have been a necessary cubicle. A safety net, perhaps.

    Strength of character is something very different. Maybe it's kind of the opposite. Being able to perceive and appreciate a myriad of viewpoints. And being unstuck.

  •          Wearier                                      11/29/07

    There's an issue of scope. It runs from the very small to the very large. Am I supposed to focus on the moment as it is happening or see the grand scheme leading up to and coming away from the now? And where should I start and end from? I am finding my physical challenges particularly apparent right now. In what context can I place fatigue? In the moment I strive to avoid it. But as my schedule compounds and it becomes unavoidable, I see it can be an ally in enriching the music-making. It is like an athlete who reaches his peak after a good amount of time placing his body under stress. There is an arc created, but it is difficult to account for it in the present moment.

  •          Lycopene                                      10/01/07

    There is a wealth of information brewing inside me on the subject of love. I was wishing I could put it all into words as I perused the journal section at Barnes & Noble. A blank page is a very alluring thing to me. I of course have little formal training in the written arts, apart from a good English teacher I had in high school.

    It's an odd sensation to know you could write volumes on a subject, but then feel stuck for putting down even one coherent sentence. What occurred to me at B&N is that I cannot keep these ideas and feelings inside me for the rest of my life and expect it to have been a fruitful one. They are profuse enough that it becomes a ridiculous notion not to make some kind of use of the sum of their parts.

  •          Plebeian                                      8/20/07

    I am still working on the whole mind, body, heart thing. It's frustrating. I seem to be so utterly conditioned to cut myself off from one or more of them. But even when I make a deliberate effort to be in touch with them, I am realizing it is not enough because they are divided among themselves. They don't function properly that way.

    I guess I spend the majority of my time either actively or passively cutting myself off from myself. It is just by habit. People who don't do this seem like aliens to me.

    I believe I wouldn't be so confused so often if I had that knack for integration. It would not only reflect on the cello.

  •          Leftovers                                      8/12/07

    All or nothing. Why is that my predilection? Don't answer that. I was limiting it to specific issues like music and food. But in truth it has no limits, kind of like its own self. No control. It's an illusion of control, this all or nothing.

    I used to envision love and sex as all or nothing deals. And I did my trick of withholding them (specifically sex) so as not to be drowned by them, just like I mentioned last evening. Actually it wasn't specifically sex, was it. I totally hid my deeper feelings of love and affection from myself and others, too. Such heartwarming traits. Thank G-d I am becoming slightly aware of it after all these years.

  •          Partaken                                      8/04/07

    I have had revelations before, technically, spiritually, musically, and otherwise. How long do their effects last usually? Should I take myself seriously when I am deeply convinced of a notion? What about other people, when they are sure of something? Are they more or less trustworthy than me? Apparently it depends.

    If I can stay on this path of looseness, it could be an important turning point. That is what I am thinking as I sit there experiencing the effects of this approach. It's a strange sort of morphing that is going on. At first it feels like it's getting worse - my arm still hurts, and I don't even have the illusory and fleeting pleasure of expressing how the music moves me. Then, little be little, I begin to sense something letting go in my sinews and muscular fibers. I am in disbelief. It's actually taking effect.

    So, how long ought I expect this positive change to continue? Is there going to be a swerve in the road at some point? Will I lose focus? Will this technique cease to be effective as time goes on? What about all the different genre I have to perform in?, orchestral, chamber, solo, and otherwise.

    These are some of the thought processes I have when I'm sitting there practicing or rehearsing, or even performing at times.

  •          Truthood                                      6/13/07

    All the permutations and complexities of relationships and feelings are simply what is real to me. I experience life on many layers. What appear to be conflicting emotions are the richness of life. If I deny that, then I am being false. It is only acting. There doesn't seem to be much point in that. Eventually everyone's goal is honesty, self-disclosure, isn't it? Why delay the good stuff?

  •          Reeked and Wracked                                      5/19/07

    I am definitely prone to being all or nothing. One extreme or the other. This week I find myself trying my hardest to please, to be a good boy, a perfect fellow. I don't even know I am making perfection my goal, but I am. It is a goal wracked with risks. One of the chief ones seems to be my own shame trip when I see a flaw in my efforts. Also, I end up drawn to others of like extremeness. Maybe that explains the prior blog's reference to idle, pleasant repartee and its seeming uselessness. Who needs a conversation when it sticks to the sane, centered ground of everyday life? This propensity to primarily engage with extremists only exacerbates the imbalance within myself, and it makes a way out harder to locate from the mire.

    I do appear to be somewhat obsessed with karma, again without my knowing it. It is probably a great way to widen those extremes I so love. I seek good karma (a habit apparently ingrained in me from God knows where). For instance, I imagine if I can play Mozart beautifully, I will go to Heaven (have good karma). Then I fear that if I disobey someone I respect or care about (or am intimidated by), I will have bad karma (go to Hell, I suppose). What's in between these two options, I ask? I can't say. Sadly, what is in between might be the stuff which makes up a life. Is that like hearing between the notes?

    These extremes of ideology, emotion or obsession which I and others run to are facades, but they certainly seem convincing in the moment. I would like to be able to differentiate between fantasy and some semblance of reality. Then I will know when I am simply taking a temporary flight of the imagination (either alone or with someone else) from which I can exit at my leisure.

  •          Eel Farmer                                      5/03/07

    I got one lottery number right. Obviously someone else did much better than that, since there was a winner. But for me one correct number is quite good. I'm sure they will enjoy their 26 million.

    I am a bit at a loss on what to write these days. I've got plenty of stuff I can put in my private journal. Plenty of stuff that is very specific. I obviously prefer to incorporate more general musings here in this public forum. I guess I could put down all sorts of everyday little factoids, but, at least lately, I don't see what use that would be to anyone.

    That reminds me, I was thinking about what I deem of worth even in my own hour-by-hour life. Do I have something against pleasant, non-soul-searching conversation? Ought I have that bias? Or is lighthearted banter actually valuable? I wonder. I just told some people that I prefer listening and playing music seeped in pathos. But then I also think my sorrowful undertones give the more cheery stuff I play a certain beauty, if I can get out of myself somewhat and enjoy the sunnier qualities.

    But I appear to be a dark soul on many levels. I think it would be good for me to explore and express some other colors in the spectrum of life.