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In which I go away, come back, explain little, and we all go off on a merry little tangent.
When I wasn't riding roller coasters, visiting museums, and otherwise touristing in Cleveland last week, I did get to enjoy some quality time reading about Copland. I even took notes:
So many things running around my head this afternoon, and I’m not sure how to organize them all. Maybe a list?
Copland summer reading is going well, and I'll post an update next week on what I'm learning. I'm not sure if this will lead to any grander conclusions that I so optimistically predicted last week, but I'm having a lot of fun reading about Copland's life - where and how he lived and worked, along with his connections with other musicians, artists, and writers.
Enough - this post is not about Copland - instead, it's about a project that was completed in fewer hours than it will take me to read that book: the Wall\Therapy mural at The Little Theatre.
A few friends sat on a porch in Rochester on a recent cool summer night. There was music, and beer, and some talk of going hiking. The music varied as different people used Spotify to play Nick Waterhouse, Leonard Cohen, Olivia Tremor Control, Wilco, and whatever else came to mind.
Late at night, late enough to be almost early, one of the denizens of this porch called up Copland’s music for The Red Pony. He then turned to me, the ostensible classical music expert, and asked: “Why do I like this music? What makes it so good?”