By Rebecca Hein
I was rolling around in bed, flipping my pillow and rearranging the blankets every few minutes. Finally, my husband turned over and put his arms around me.
“Becky. Settle down.” In Ellis’s tone and touch I recognized the calm authority that soothed our two preschool children when they became agitated.
“That’s easy for you to say,” I retorted. “You’re not facing potential humiliation in front of hundreds of people.”
“True; that’s a decision I made years ago … and so did you. Now go to sleep.”
For the past few days, I’d been waking up in the morning wondering why I felt like I was going to soon face a firing squad. Then I’d remember. The last Wyoming Symphony Orchestra concert of the 1996-1997 season was coming up in about two weeks, and I was going to be playing a duo with our guest artist, Mark O’Connor. A Grammy award-winning country fiddle player, he was ascending rapidly, and was already collaborating with many world-famous classical artists such as cellist Yo-Yo Ma.
My principal cello job required me to perform whatever solo parts that were required, and when I first ran through my part for “Limerock,” an old country tune in an arrangement by O’Connor and others, it seemed playable enough. Next, I listened to the recording he had provided, but I didn’t recognize the piece I’d just sight-read because the tempo was insanely fast. When I discovered this, I saw the magnitude of my task.