Thanks, everyone.

I think there's still quite a bit to work on, even just in this first page. I'd like to be able to play most of the first movement cleanly before my first lesson on the piece, so that lesson time can be spent mostly on detail work and interpretation. And in general the bow hand needs to be more relaxed, especially on the triple and quadruple stops which sound a bit crunchy right now. There are a few spots in the movement that I know are going to be trouble spots where I'll need help with more basic technique (rapid string crossing, and some double-stop passages on the second page) so I know it's not going be entirely cleaned up in the next week or two.

I don't have any concrete plans to use this for any particular audition right now, but I want to have it in my back pocket for that purpose. UCDSO requires a re-audition every year, and I would like to continue playing in that orchestra as an alum if I have time for it. If I can fit the orchestra in my schedule, and if I have a movement of this concerto learned well enough by the time auditions take place, I might end up using it as one of the "two contrasting pieces" that the audition requires.

Otherwise: one of my long-term goals is to play well enough to be competitive at the level of a professional orchestra audition. That is, to not look out of place there, even if I never win a seat. This would mean not only technique, but also learning the pieces I would need to take an audition. It's common for professional viola auditions to ask for one of the "big three" modern concertos (Walton, Bartok, Hindemith "Der Schwanendreher") and one of the two major Classical concertos (Stamitz D major, Hoffmeister). Learning this concerto would fill the Classical concerto requirement. I picked this one over Stamitz mostly for non-musical reasons: it turns out Hoffmeister was a lawyer, so I feel like I really should learn the one well-known viola concerto by a composer who shared my profession.