After the unsettling charcoal flavor of my most recent post, and amid a blizzard of other real-world/paper-world writing projects this week, I was in need of a reconnection with my main axe, which I luckily found here:
In spite of the fact that my head isn’t completely visible, the left forearm and phalanges are visible, and the sound is clear, which is mostly what matters.
I’m looking forward to being reunited with this particular instrument (Paul Hart, 1989) in about a week, and in the meantime and marking time with the Damon Grey instrument, which I may be kissing goodbye at some point. One of the scary and exhilarating things about the Saint Saens clip is that the music being explained and worked on here probably goes by in the span of about 10 seconds.
(Herein lies a good lesson for writers or artists about craft — one can’t simply snap a few photographs or dash off a paragraph and call it art; to have lasting value, the work needs to emerge out of the excitable forge of creation and then launch into a series of honing calculations, weighing and recalibration before the whole thing is set out for view, which is to say, further criticism. At the same time, in the final analysis, the author/artist ultimately has to dam up critical voices [both internal and external voices] go ahead with the work as one envisions it.)
Since I have some minor ambitions to perform the Saint Saens in the fall, I anticipate uploading some longer, performative clips along with a bit of new online cello pedagogy in the period after Labor Day.
Adam Cathcart 
On Craft: beautiful! I reckon it’s usually the “honing calculations” that are lost, in this day and age of creativity without development and further criticism. For every piece of writing I’ve ruined by failing to “dam up critical voices”, I’ve ruined ten by inadequate refinement and criticism.
Sharpest sound quality I’ve ever heard from youtube, btw. Refreshing, dangerous.
Very glad to have discovered your blog. Over the top edginess!