. . . is like dancing about architecture. (Martin Mull) This quote has been rattling around in my mind quite frequently as of late. You see, amidst all the activity that is composition, and all the activity that surrounds that work (classroom visits, site maintenance, recording and mixing, etc., etc., etc.,) comes the search for … Continue reading Writing About Music . . .
Have you heard the one about the efficiency expert who went to a performance of Schubert's Unfinished Symphony?* Funny? Sure. But nowadays, it's not too far off the mark, I fear. I read an article a few years ago (and for the life of me, I can't remember where, or by whom, and I haven't … Continue reading Embracing Human Limitations
This link came across my Facebook newsfeed the other day. I made a quick mental note of it, with the idea I might decide to read it later. I have great respect and admiration for Harry Connick, Jr., but when it comes to American Idol . . . well, let's just say that, given the … Continue reading What Does It Mean to “Know Your Music”?
One nice thing about working at the radio station is that I get to do my own programming. We have a library of almost 11,000 CDs, and I'm always discovering works or performances that surprise and delight me. But there is a challenge inherent in programming, which is making sure the works I choose are … Continue reading Mass Appeal?
I had a very interesting conversation this afternoon, about discerning "quality" in a performance. I was in the studio, and was playing a CD of Joshua Bell performing Tchaikovsky's Violin Concerto in D Major. Bruce Paulsen popped his head in, and we got to talking about the thrill of a great performance - Joshua Bell, … Continue reading Recognizing Quality