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

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

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

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

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

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

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

We arrive at the recording venue at Bastyr University around 11:40 a.m. and meet David Sabee, the contractor/engineer. Turns out he also plays cello, composes, arranges and conducts, a real renaissance man of music. I’m sure I left out half the things he can do. The chapel is shoe box shaped with very high ceilings and beautiful stained glass windows. It’s a decommissioned church, but all the religious icons remain. The stations of the cross are beautifully illustrated along the sides of the chapel. The recording team continues to set up as I warm up and go over key sections of the concerto. Later, John joins me to review transitions. It’s a nice set up at Bastyr. Rehearsing alone, the sound is clear, warm, and not at all boomy as one would expect with a large chapel.

We eat lunch with Sabee at the vegetarian cafeteria. This is good because yesterday I had a rich dinner of sea scallops and half of Marina’s German chocolate cake. I find out more about Bastyr. The campus used to belong to the Catholic Church before being sold. Bastyr is a natural health sciences university, considered one of the best of its kind. One day a year, the senior class hosts meat day, which is very popular and supports the senior class trip.

Madonna of Bastyr Chapel