You know what I dislike about the development section in the first movements of sonatas?
If you mess up in them, you can’t redeem yourself a second time.

(The first movements of sonatas are split up into three sections: the exposition, development, and recapitulation; the exposition is traditionally repeated, which, in a way, gives you a second “go” at making amends to any mistakes you might have made in it the first time around. Not so with the later sections…)

I had accompanied an intimate violin studio recital earlier tonight, playing (the first movements, as are applicable, of) such music as Max Bruch’s epic Concerto No. 1 in G Minor, Beethoven’s “Spring” Sonata No. 5 in F Major, Suzuki music, an arrangement of Vitali’s Chaconne, and Rieding’s Concerto No. 2 in B Minor. The process gave me more respect for Beethoven and his ingenious crafting of phrases and ideas, in tossing them from the violin to the piano and back, and smoothly connecting everything. The Bruch was marvelous, as was its player, and I felt the Vitali could be orchestrated. These works must be studied more.

Accompaniment interviews and possible jobs await, alongside more compositions.