Approval

A student recently apologized to me for “disappointing” me when he wasn’t able to perform in a recital that I’d asked him to be part of. I felt puzzled for a minute: I have many feelings about students, but disappointment is rarely one of them. So I told him that my approval of him wasn’t conditional upon his performing in the recital.

Then I started thinking about the teacher-student relationship and how approval-based the whole business seems sometimes. So much of my motivation to practise during my student days came from my fear of the teacher’s disappointment or disapproval. I suppose what happens when you don’t have a teacher any more is that you transfer the guilt complex to yourself, so that if you don’t practise, you’re the one who’s disappointed now.

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My love letter to music

By Miranda Wilson

Some days, when I’m feeling pessimistic, I question every career choice I’ve made. Then I go into a doom spiral where I question the morality of spending so much time encouraging young people to make similar choices. But the thing I keep coming back to, the thing that makes it all worthwhile, is what a privilege it is to make music. Is it difficult, frustrating, annoying, exceptionally badly paid, and overcrowded? Yes. Pointless? No.

When our world seems to be going crazy, I can’t help feeling lucky that I’m in a profession that brings people together.

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My Year of Women Composers

https://mirandawilsoncellist.com/blog

Things I wonder about: did Fanny meekly accept her father’s pronouncement? Or did she seethe with rage at the unfairness of it?

By Miranda Wilson

I made a New Year’s Resolution today. 2019 is going to be the year that I explore, learn, perform, teach, and promote music by women composers.

I’ve always known women could be composers, because my late great-aunt, Dorothy Freed, was one of New Zealand’s first. “The grandmother of us all,” she often said proudly.

This being the case, I find it hard to explain why I haven’t actually played a lot of music by women before. My weak excuse is that I…didn’t think of it.

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Internet meme "What I Really Do." Title: Cellist. What my friends think I do: image of Yo Yo Ma. What my mom thinks I do: image of Popper's High School of Cello Playing. What the media thinks I do: movie still from August Rush. What my co-workers think I do: image of Man Ray's "Ingre's Violin." What I think I do: image of Augustus John's "Madame Suggia." What I really do: image of cello part from Pachelbel's Canon.

The Joy of Basslines (Or How I Learned to Love Pachelbel’s Canon)

By Miranda Wilson

Internet meme "What I Really Do." Title: Cellist. What my friends think I do: image of Yo Yo Ma. What my mom thinks I do: image of Popper's High School of Cello Playing. What the media thinks I do: movie still from August Rush. What my co-workers think I do: image of Man Ray's "Ingre's Violin." What I think I do: image of Augustus John's "Madame Suggia." What I really do: image of cello part from Pachelbel's Canon.
It’s impossible not to look cool when you’re a cellist 😀 

A pianist friend and I were planning a chamber recital, and had already settled on piano trios by Brahms and a modern composer. “We should have something more Classical, too,” he said. “What about Haydn…oh, wait, no, cellists never want to play Haydn piano trios.”

“What?” I said. “I love Haydn.”

“You do?” said my friend. “Cellists always frown when I say ‘Haydn piano trio.’ Or they start singing do do do do sol sol sol sol, and then they veto it.”

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A Defining Trait of Great Musical Leaders

By Miranda Wilson

adjustment

Working both as a member of professional ensembles and a coach of student ensembles, I often have cause to wonder what might be the single the most important leadership quality in rehearsing and performing ensemble music. In a recent post at my book website, I argued that a good ensemble musician takes personal and group responsibility for mastering the task at hand, offers criticism constructively and accepts it graciously, and seeks to make others in the ensemble sound good.

The more I thought about this, the more I wanted to add one more thing, and I think it’s the most important one.

A great musical leader knows how to adjust to others.

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The restless cellist’s meditation

http://www.mirandawilsoncellist.com

By Miranda Wilson

I really wanted to like meditation. I’m the demographic that’s supposed to like it, since I’m generally a sucker for the things that go with it, including avocados, wind chimes, and motivational TED talks. But when I downloaded a meditation app on my phone, I realized that it wasn’t going to work for me. 

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(Out of) Control: Reframing Performance and Anxiety

https://mirandawilsoncellist.com/blog

By Miranda Wilson

You probably know Reinhold Niebuhr’s “Serenity Prayer.”

“God, grant me the serenity to accept the things I cannot change,
Courage to change the things I can,
And wisdom to know the difference.”

Even if you aren’t religious, it’s good advice for performers. I think about it when I’m helping students prepare for a performance.

The thing is, in performance, it’s not about the things you can change, it’s about the things you can control. 

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Getting back on the horse

horse

By Miranda Wilson

I was a horse-mad teenager. Though I could never own a horse, since my family lived in the city and could neither afford nor house one, I went on horse treks an hour away every weekend. I loved everything about the horses — their appearance, their soft noses, their horsey smell — and felt utterly exhilarated when I was galloping across the countryside on one. I have always been a cautious, shy person, and riding seemed to take me out of myself. I had never felt so free, or free to be reckless.

And then one day the horse I was riding threw me.

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