Jessica Hung

Jessica Hung is from Cleveland, Ohio.

Biography

Archive:
June 2006
May 2006
April 2006
March 2006
February 2006
January 2006
November 2005
October 2005
September 2005
August 2005
July 2005
June 2005
May 2005
April 2005

Videos.

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'Song' Update.

I uploaded a new "song"! (That word is one of my pet peeves when it comes to classical music. I love Lieder but I certainly can't play them.) Second movement of Mendelssohn up at download.com. Not downloadable (despite the site's name) because I haven't checked with the orchestra or conductor about it, but happy streaming.

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O Canada

I will be performing in the masterclass with Lars Anders Tomter on the very first day, the 7th, just the first movement of the Brahms f minor Sonata. I worked on the piece a couple years ago and performed that movement at a different summer camp, so it is currently a bit rusty, but I still have a week to focus on it exclusively. I really find that the primary problems with switching from violin to viola are physical. It is debatable among different teachers exactly how much the technique and approach changes between the instruments, but I personally find that if I don't spend some time with scales and etudes, I never quite settle back into the richer, darker, deeper sound, and am quickly thrown off by the extra exertion it takes to pull out that fullness. As violinists, we so often take for granted the acoustical favor of our instrument and the fact that everything so naturally balances, rings, and projects. People say that the more cutthroat standard of perfection for aspiring violinists makes up for that acoustical discrepancy, but at the top of any instrument's field there are some uncanny technical feats going on. Violists (and sometimes even cellists) are expected to play Paganini caprices or La Campanella in competition these days, with no exceptions for the sheer physical awkwardness of the instrument. I suppose if I really want to humble myself someday I'll try the bass, or a double reed or brass instrument.

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Pending Fall Class Schedule

Tentative recital program:
a Mozart Sonata
Bach Sonata No. 3 in C Major
a showpiece
Brahms Sonata No. 3 in d minor

Current new repertoire: Prokofiev Concerto No. 1 in D Major

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Ich bin fertig!

I am finished! With my jury and German final now over I am far less stressed. I was very happy with my jury which went surprisingly well. I worked on the repertoire a while ago, then took an unwisely long break from it. Or wise, who knows. When I actually brought it back, it was of course technically rusty, but I actually found it rather effortless to be free and spontaneous. When that affects my body motions and old bad habits I have to keep it in check, but I thought my jury performance had a nice balance of being grounded which is perhaps the number one thing I have to remind myself of for performances, and still being creative. I do get in a rut sometimes with seeing things too closely, losing the larger perspective, and complicating everything I need to do, so apparently not overthinking things can help. A concrete example is the slow movement of the Bach C Major Sonata. I initially had a pretty good feel for it and got the phrases to sound very natural and flowing pretty quickly. When I worked on it in more depth, however, I created problems for myself by going too far with sound colors and I lost the line and the core. I see it as a very delicate movement and for quite a while just wasn't playing loud enough, to put it crudely, for the three- and four-note chords to even speak. I worked on this in a lesson and my teacher brought me to the obvious realization that special soft colors don't automatically exclude the opposite, bold end of the spectrum--they are, in fact, enriched by the contrast. So essentially I just tried to play louder today, or rather being aware of the places that simply technically require a certain volume and presence of sound and trying to make them sound integrated into my still gentle perception of the movement. I didn't catch every single chord, but it fared much better. I also had a shift in attitude from the borderline ridiculous, "This 16th note, which I'm playing an excruciating 5 cents sharp, must be as expressive as possible and penetrate the hardened heart of a hypothetical bitter old man who hasn't cried in years, and if he isn't in tears by the end I have failed," to, "I'm going to relax and let the expression flow." Awareness is often helpful, but in the moment, forgetting awareness and remembering to just be (and then promptly forgetting all of the above) can work wonders. When I can figure out how to do it--or forget the whole thing entirely, either way.

Tomorrow marks the start of what I have of my summer vacation, half of which will be spent at camp with almost no time for solo rep. As I say periodically on this blog, it also marks a renewed commitment to consistency and focus and not being easily discouraged. I have been pretty bad with convincing myself to practice over breaks when there's no impending pressure. I perhaps need to set smaller goals and deadlines and pretend that they're as important as an actual audition or something. I also just need to be vigilant about remembering that consistency improves everything in my life in subtle ways. Staying technically fit is reassuring and stress-relieving, as is the feeling of having done something worthwhile each day. I love being at CIM (who knew anyone could be happy in Cleveland?), feeling supported, and being perhaps in a better position than I have ever been to muster courage and start going for things. And I have been humbled to find that a school and environment change has not magically made my life a utopia. I am blessed with great support, which is just that--support--and making the last leap (every day in inconceivably small steps) is still my burden and privilege. The reasons for my resistance to developing as well as I know I could, even in favorable situations, are clearer to me now, and I hope that rather than using knowledge of my old tendencies to excuse myself, I can learn to overcome them and actualize my truest self.

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Spring cleaning = life planning.

Life famously never goes as planned, but I think I can be fairly certain that I'll now be doing the five-year BM/MM degree program at CIM. I had thought about it earlier in the year but had assumed that with transferring and having to take some theory over again (because at Northwestern we just wrote "V" but at CIM it's imperative that you write "G Major V"--root, chord, quality--and I needed a semester to get that straight) I wouldn't be able to fit the credits in. However, when I actually sat down and, referring to all the requirements, planned out a schedule, I think I can actually complete two degrees in the next two years without undue amounts of stress. It'll amount to an average of 17 credits/semester, and the recommended "normal" number is 16, so that's not bad at all, taking into account that I have a senior recital in the fall and the following year a recital both semesters. What helped is that I have 20 credits this semester as I am simultaneously taking two theory classes, Form & Analysis and Counterpoint, to sort of get back up to speed. I would like to take orch rep and German every semester that I can, but I always have a sort of safety net of being able to drop either of those if I have to. Although the application deadline for any degree program was way back in December, CIM continues to accept late applications. I also talked to both the Registrar and the Admissions Office and I will officially enter the program and be allowed to take grad school classes in Spring 2007, so as a bonus I've avoided the late application fee anyway.

All this means that my junior jury in May will double as my program audition, and I should probably, maybe start preparing for it. Even since recovering from the flu I haven't been practicing and keeping in shape very well, mostly because I had a big research paper and presentation on the Mozart "Dissonance" Quartet due in Chamber Lit. I'm not a huge fan of public speaking; I vaguely recall that I used to do some acting in sixth grade, but as I grew up I just became too self-conscious to enjoy it anymore. I'm certainly not shy, but in anything from class to quartet rehearsals, it's always helpful to be able to quickly articulate your thoughts. I've always preferred writing, in which you have a less limited amount of time to put ideas together, not to mention a backspace key. So in light of my quasi-awkwardness, the presentation went pretty well; I stuck closely to my ten-page paper as a guide, and counting the time it took for my quartet to come in and perform a couple movements, I actually had too much to say. I was also able to find some revisions that 19th-century critics actually made to Mozart's opening, correcting his "mistakes" in harmony and counterpoint and making it more pleasing to the ear. So we played a few bars of those revisions--one was quite subtle, merely softening the dissonances by delaying some notes, and the other was pretty dramatic, changing the harmony entirely and essentially ruining Mozart's opening VI --> V4/2 of V --> V6 chord progression (for there was, in fact, a logic to his chromaticism--surprise!).

The Chamber Lit story was a digression, so back to life-planning. I'll be quite happy to do the program as I think three years total at CIM would be just right, but I didn't want to take an extra year and call myself a sophomore, so completing a Master's as well in the extra time seems like a bit of work, but a great deal. I've been through the whole process of applying, then flying around auditioning at too many schools, a couple times now and I'd much rather not have to do it again next year. I won't officially know if I'm accepted until after my jury I believe, but I imagine the school doesn't often turn down its own students, and I know Mr. Preucil keeps anyone who wants to stay. The essay was also not difficult to write--I had to answer the question of why I wanted to stay here when CIM encourages students to go elsewhere and broaden their horizons for further study. Clearly, I haven't been here as long as most other undergrads, and would like to have enough time to really reap all the benefits the school, Case, and Cleveland have to offer. Miraculously (back to Chamber Lit for a second), by now I've even figured out how to use the library to look up sources and call numbers and feel comfortable being able to find stuff for research when I need it. This is helpful as I don't use the Case Kulas Music Library often, but when I do there is definitely a wealth of information waiting to be discovered. Other points of my essay were that I have a better idea now of the Cleveland Orchestra sound, but still would like to go to as many concerts as I can, usually because they do some great programming, and for the most part their advertising is effective, as far as I can tell. (The second part of that sentence was not included in the essay.) I also like the idea of having greater flexibility when I do get out of school. I can either start auditioning for orchestras right away (yet another type of exciting audition ordeal, I mean experience, to look forward to)--New World would be a great place to go in the interim--or I can apply and audition to do some kind of Artist Diploma or Certificate at another school. At this point, I really don't think a PhD is at all necessary for the type of work I'm looking for, so those "Artist"-labelled programs seem like a good way to continue my education if I feel it's necessary. I also still have thoughts of going to Germany and Austria for a longer period of time in the back of my mind, so we'll see if that opportunity arises down the road--for now I'm just thankful to be spending two months there (along with touring to Switzerland and the Netherlands)!

I've come up with somewhat ambitious plans for the next couple years, but I feel pretty confident that I can handle them as long as I stay on the ball most of the time. Greater consistency and discipline, especially with maintaining technical work, are some of the main things I have to learn, so a continuously full schedule will force me to learn those lessons anyway. Anyone who reads this blog may think that I already sound rather disciplined, but I would say I'm far more analytical than disciplined--they're definitely two different things. I'll know the exact spots and details, or on the flip side the exact big picture artistic ideas, that I need to work on, but convincing myself to stop procrastinating and go achieve those high-standard goals is something else. The school here generally has a very positive environment simply because the faculty that I've met all happen to be such kind and generous people--perhaps there's some conspiracy theory as to how they all convened at one music school--and this can be either an excuse to coast, or an opportunity to develop as much as possible with great support. Though it's easier to slip into the former role, I know for a fact that when I'm unprepared for a lesson, my teacher may be understanding and still want to work on amazing artistic things despite the notes, but I just can't feel comfortable unless I have all my stuff together before walking in.

At any rate, my aim now is just to make the Korngold and Bach as expressive as possible, to be happy with my jury audition, and to sound like someone the school might like to keep for another year.

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Monster April-without-the-showers update.

Much has been going on musically! Unfortunately this has left little time to update, but here's the entry to rectify that. This summer I will be attending the Schleswig-Holstein Orchestral Academy in Germany! I flew to New York to take the audition as they don't come to Cleveland, and knew that the festival had a great reputation and was very competitive. I was quite happy with my audition; they put a lot of emphasis on the Mozart concerto rather than the Romantic concerto, and the excerpts, three of the trickiest ones--Schumann 2 Scherzo, Strauss Don Juan, and Mozart Magic Flute 2nd violin part--went pretty well, but I missed a couple high notes in the Don Juan, so I didn't expect much. I was intially waitlisted and had sort of mentally written off any hope of being accepted, because how could a spot at such an amazing place actually open up, and even if one did, I wasn't aware of my place on the list at all. But sure enough, I received a second email with an invitation! The concert programs and conductors (and soloists, Frank Peter Zimmermann and Janine Jansen) look absolutely mouth-watering, as well as the touring schedule--we will visit several different German cities, though I hear the home base is also quite beautiful--and I am really looking forward to a hectic and busy but rewarding two months. I know two or three other American students going, so that helps. The last wonderful intense orchestra experience I had was a few years ago with the Civic Orchestra of Chicago, and I am just really happy to be able to relive that kind of unique experience of working on great repertoire with colleagues who are not only talented but also simply passionate about the art of orchestral playing. That positive attitude toward large ensemble playing is unfortunately not cultivated as actively as it could be in most American music schools. The hierarchy of string seating, I feel, is always too ingrained, unnecessarily inflating the egos of those in the front and defeating the enthusiasm of those in the back. Simple concepts like string equality, where the last stand feels as committed, responsible, and involved as the first, would make a world of difference in orchestral playing in conservatories and even professional orchestras. Not that principals don't have the responsibility of being good leaders, but the purpose of their leading should be solely to inspire the section to play cohesively, as if with one mind, heart, and bow. These crucial ideas are often completely absent from the education of so many music students--it's no wonder most loathe or are at least indifferent to orchestral playing when they have never experienced anything unifying and deeply gratifying about it. I firmly believe that in the right situation, one can be extremely expressive in an orchestral performance--yes, it takes a certain sublimation of the individual ego and will (unless one has solo passages), but the energy is channeled instead toward a cause that can be ten times more powerful because of the sheer force of dozens of people working together, hopefully under a conductor with a strong vision, towards the same goal. It takes some remembering to know that, for example, while a tremelo may sound weak, ineffectual, and silly under your own ear, the effect of the section out in the audience is a beautiful shimmering, translucent color. The magic of orchestral playing is lost on those members who insist on the comfort of hearing their own particular sound all the time, without ever letting go to the flow and blend of the larger ensemble and the wishes of the conductor.

And now for something completely different from that rather long personal rant on orchestral playing. Since returning from break I had been mostly occupied with the school concerto competition, which happened last weekend. I was happy to pass the prelims the Monday before, which are usually only held for violin and piano, as I had worked hard all week on the ten minutes of Korngold I had to prepare. I actually felt somewhat unsettled about my preliminary round performance, like it took the first movement to get fully comfortable, but I remember being happy with some particular nuances and moments and overall giving a solid performance. In the middle of the week we had an orchestra concert (of Petrouchka, probably my favorite Stravinsky ballet and one of my favorite orchestral pieces in general), and right after that I got sick with the flu. It was sort of funny because after I had passed the prelims, I had been thinking mostly about my mental game and how to go into the finals feeling settled from the very first note, but as it turned out I didn't really have the opportunity to apply my strategies as I was so physically out of it. My mom happened to be in town for the orchestra concert, so it was really nice to have her there to help take care of me for a bit, and I'm sure she also facilitated my recovery. At any rate, even being in bed for two days before the finals, I thought I could still pull off a decent performance. There I was mistaken. Regardless of how well I knew the piece, I still couldn't play fluently without having freshly practiced the passagework, and the combination of that stiffness and the whole sickness bit of dehydration onstage (I'd never played a solo onstage in Kulas before, so it seemed even more surreal; the audience and judges were bathed in darkness and I seemed to not even recognize the hall from my perspective) and whatnot made for a very unpleasant performance, at least for me. The whole ten minutes was a struggle to control and shape my vibrato and phrasing in the lyrical moments, usually a strength of mine but not that day, and to get my fingers to be flexible enough to fly when they had to. None of it really worked in the moment, and I was immediately disappointed after walking offstage. For some time I was convinced that I should have just forced myself to get out of bed and practice, as I do truly love this piece and my chances would have been so much more favorable otherwise. But after talking to a few more reasonable friends and having a few days to actually think about it, I realized that probably would have just burned me out faster. So for me this semester's competition was just one of those "that's life" experiences. I have one more shot with next semester, so we'll see if then I happen to hit the right combination of hard work and good luck that hasn't yet befallen me. I have certainly learned to watch and take better care of my health, especially when things start to get stressful, and food and sleep are the first things to go. I'd also like to note that the cellist in my quartet, Desi Abbey, was one of the winners with Bloch Schelomo, so we're really excited for her!

Speaking of quartet, we have finished the Mozart Dissonance and are starting the Schumann first quartet in A minor, which we chose as our Romantic piece after a lot of reading and rejection of the really popular Romantic works by various people for various reasons. It's a very pretty work and we've had a coaching on the first movement, which we perform this week for an outreach concert and a showcase concert at school. I've learned a new phrase here from both Mr. Salaff and Mr. Rose--"spinning the sound," which I think is a very interesting and rich metaphorical image. It's one of those images that on the surface doesn't seem to make a lot of sense, like the hair of the bow having "teeth," but it intuitively just makes sense anyway, and as you play and consciously think of it you can literally feel yourself making the sound spin and vibrate in the air as if it's alive.

Finally, the Cleveland Orchestra gave concerts of Bach's Saint Matthew Passion this weekend, and I just wanted to mention them because it was one of the best performances I've seen them give, although my favorite was perhaps still Mitsuko Uchida's Mozart Concertos conducting from the piano. It was particularly delightful to see the viola da gamba featured so prominently. Franz Welser-Moest gave a lecture on the work that was posted online; I listened to some of it before going and you can clearly hear his admiration and fascination, as well as knowledge, of the piece. There are many interesting numerical facts owing to Bach's obsessions with numbers--the first ten notes of the piece, ten for the Commandments, outline a perfect fourth, the symbol of Jesus Christ. In the choral interjection after Jesus says that one of the disciples will betray him, there are eleven iterations of "Is it I?"--meaning that Judas, the betrayer, doesn't say it. And so on. I also have to mention Mr. Preucil's solo, because it was just gorgeous, and I admire how effortlessly he can shift between asserting his unique artistic ideas and personality in a beautiful solo line and blending seamlessly right back into the orchestra to lead the section under Moest's direction, yet never losing his own style there either. He also just does his job every week with an incredible amount of relaxation and humility. I've been quite grateful for his support lately, as before the finals he noticed that I was looking apprehensive and took the time to sit down and give me a sort of pep talk with the main advice of not thinking so much! To just enjoy and perform. Then when I got sick and explained how my audition had gone, he was completely empathetic and related a similar story where he was sick and had to play a Cleveland Quartet concert. I felt almost silly because there's quite a difference in the stakes between those two situations, but as I said, he seems to simply take everything in stride, with no student's problem too great or small for him to offer something to help make it easier.

For the rest of the semester, musically I just have my jury left in May--a concerto movement, probably the first mvt of Korngold, and two movements of Bach C Major. We also have scales and arpeggios and I hear there's a specific system, so I need to find out what that is exactly. Tomorrow I register for classes for the fall--according to my German prof, all of us in 201 can probably pass out of 202 and start 300-level classes, so if I take the Case test and pass this semester, I'll get to register for either Advanced Composition and Reading or Intro to German Lit, both of which sound great. I'll probably be taking Intro to Financial Accounting to fulfill my last general education credit and because my parents keep saying I should take something practical, which is true. Then there's Symphonic Lit, as well as orch rep again and the usual lessons, orchestra, chamber music. I also plan to give my senior recital in the fall sometime before things get too hectic in the spring as always. I would like to include the Bach as I have never performed an entire solo Bach in public!

Well, that is a pretty exhaustive update. If I can offer any sort of summary, it's that I've had several ups and downs this year with moving to a new school, but I can safely say that I am immensely grateful to have transferred. I don't necessarily regret the time I spent at Northwestern, as of course I gained valuable experience there, made some invaluable friends, and my playing was pushed in many important ways. Besides, everyone should experience the classic college dorm environment with the communal bathroom at some point in their lives. But here, I've found that when I just take the intiative and really put in work, I'm allowed to open up to whole new worlds of creative possibility, and the only thing I can possibly then lack is trust in my creation. I have fun quartet rehearsals and inspiring, uplifting coachings, really interesting orch rep classes, and solid profs all around. I also love my cat, and driving around in a car, teehee, and hate that gas is expensive. So all in all I'm glad to know I took the right step in my life and my career in coming to CIM. I think there are a lot of amazing things going on at this school and in University Circle, even with the currently ugly and noisy construction, and am happy to call Cleveland home for at least another year.

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Spring Break.

I'm relieved to get a break from school, although I still have lots going on: trying to finish an invention for counterpoint, visiting some friends, learning new rep and working on Korngold for this semester's concerto competition. In fact I have a lesson right in the middle of the week on Thursday, so not much time to slack. The new repertoire, which I thankfully have a lot of freedom in choosing at this point, is Ysaye 4 and the Bach C Major Sonata, the last one I've yet to work on and my personal favorite, although that's a hard statement to make.

Counterpoint, or at least the $55 textbook we had to purchase for counterpoint, has been really helpful for the Bach fugue--I read up on fugues and spent a couple hours going through and identifying all the subjects, answers, countersubjects, places with stretto, episodes, etc. It's somewhat tedious work but also fascinating, and it helps bring so much life and clarity to the movement as a whole. It also helped me be more confident about deciding how to break many of the chords when I knew exactly which lines I wanted to highlight. Besides the subject itself, I really enjoy the chromaticism of the countersubject which adds color all over the place--particularly in the two sections of eighth notes with dominant pedal (D for the first section, G for the second), there are some amazing major 7ths and other dissonant intervals and borrowed minor chords and all that good stuff that involuntarily induces you to intake your breath and feel affected in your gut and your heart, with or without the analysis. Of course that happens with a lot of music, and the logical explanations of the composer's clever and ingenious technique will always make sense, but there's also a tangible feeling of magic or divinity (take your pick) that can't be pinpointed.

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Catching up.

I've barely had time to update, so here are a few things that are going on:

Thanks for the good wishes from the comments for the last post! My recital went well overall. I didn't feel as prepared as I was for performances in the past, but I got good feedback and I think listening to the CD whenever I get that from the CIM Audio Department will give me more perspective. I got through the Sarasate without too many little mishaps and through the Debussy with some color changes. I think the strongest piece was probably the Kreutzer. Playing with Anita was a blast. She's an amazing artist and I had a lot of fun following her in places like the first variation of the second movement. The most important thing Mr. Preucil had stressed to me about the piece was to remember the "in the style of a concerto" inscription and to play it as more than your average Classical sonata, on a grander scale in the spirit of the "Waldstein" and "Appasionata" piano sonatas or the 3rd or 5th symphonies. I was able to practice performing in Anita's studio and accompanying classes the week before and I think each successive performance became a bit bolder, so hopefully that came through at the actual recital. The things that bothered me throughout the recital were little intonation slips or losses of bow control that I could have mastered with either more work, more time with the repertoire, or both. However, there's no substitute for faith, so I hope to take what I've gained from this experience into my senior recital next year to give an even more assured and direct performance.

A couple highlights this semester are orch rep once a week with Steve Rose, and quartet. Mr. Rose is incredibly knowledgeable and specific about all these excerpts, and at the same time very positive and patient about helping all of us improve them, particularly when half of us are sight-reading. We spend two weeks on each excerpt, first going through it as a group and the next week playing individually and getting helpful comments. I'm a bit fortunate in that the first two excerpts we've done, Schumann 2 and Don Juan, I've just had to play for auditions so they were still fresh. My generally tendency in excerpts is that things actually drag, because I'm so cautious about staying steady, and I lose some forward momentum. In Don Juan also for future auditions I'll have to work a lot on sound, because there's something of a fine line between a bold, electric, brilliant sound and a too harsh, grating sound which Mr. Rose refers to as "overblown."

My quartet has been going remarkably well; we've been working through all four movements of Mozart Dissonance and have had four coachings so far. Most of them are with Mr. Salaff who just has such a kind, gentle soul. He sits in a lot to play 2nd violin within the group, my part, which is helpful for him so he sees what goes on inside the group, for the rest of my quartet who get to play and communicate with him, and for me getting to watch and actually hear how the sound comes across to the audience. We also coach with Merry Peckham, cellist of the Cavani Quartet, who has probably the most energy I've seen from a chamber coach, and is yet another person literally overflowing with warm feelings. She insisted on giving us all hugs after the coaching. Anyway, she explored a lot of interesting musical techniques with us that I was previously totally unfamiliar with. The primary one is called, "Live, Breathe, and Die," where you take turns having one person in the group be the "main initiator" (not "leader," as that would imply that the other people are "followers" which is a little too passive), who shows everyone else with eye contact, body movements, facial expressions, and of course in the way they play, how they feel the piece. The other three "live, breathe, and die" for the main initiator, trying to anticipate as best they can and really get into the mind/heart/bow of the main initiator. We did this for a short section of the Minuet from the Mozart. It really made clear the different personalities of each group member--for instance, our cellist had a very elegant and subtle interpretation, while our violist felt a stronger sense of rhythmic drive. After everyone gets a turn, we discuss what we liked and what worked, or whatever is necessary to make the actual group performance more unified and cohesive. In performance the first violin will end up being the main initiator most of the time, but this exercise gives everyone a chance to really have their ideas at the forefront of awareness.

Besides the work we've been doing, we also get along very well personality-wise, which is nearly as important as getting along musically. I don't sense any imbalances of power; all four of us contribute our thoughts pretty equally in rehearsal, and we're all quite committed and animated. My quartetmates also have this obsession with trying to figure out what food their playing resembles. After my recital they decided I was crispy fried chicken that's juicy on the inside. The other members, if you're wondering, are a raspberry poptart, spicy canteloupe, and grape juice. Yeah, I don't really get it either, but it's cute.

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Recital + Test

For anyone interested in the Cleveland area, here are the details of my fast approaching junior recital:

Monday, February 20 @ 8 pm
Harkness Chapel
11200 Bellflower Road
Cleveland, OH 44106

Sarasate Introduction and Tarantella
Debussy Sonata
Roberta Whitely, piano
~Intermission~
Beethoven Sonata No. 9 "Kreutzer"
Anita Pontremoli, piano

And a plug for the Enneagram, because typology is fun:

free enneagram test

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