I love music passionately. And because l love it, I try to free it from barren traditions that stifle it. It is a free art gushing forth — an open-air art, boundless as the elements, the wind, the sky, the sea.
The century of airplanes has a right to its own music.
The colour of my soul is iron-grey and sad bats wheel about the steeple of my dreams.
I think someone took my copy of The Rest is Noise by Alex Ross. Right off my desk. I want it back. After I get my book back, I shall lock the thief in a dark room for a week with only Cheetos, Yanni, and warm diet cream soda.
When soprano Jane Eaglen and baritone Dean Elzinga walked out onto the stage of Eastman Theatre last October, I expected to be dazzled by Eaglen’s powerhouse, Wagnerian voice. But Elzinga was a surprise, equally forceful in Ralph Vaughan Williams’ Sea Symphony, based on Walt Whitman’s “Leaves of Grass.” Elzinga delivered a warm, rich tone similar to that of Bryn Terfel, but with a mournful aspect. He was, in a word, spooky.
I missed the bus home yesterday. After considering various options, I hopped the next one, knowing it would only take me halfway. The second, pokey bus dropped me off on a springy bit of green turf outside what was, is, and ever more shall be my favorite used bookstore. Oh, joy! I walked in with a light heart and about seven bucks.
O Fortuna! Kodak’s ten million dollar gift earmarked for renovations to Eastman Theatre have sparked two debates. The first has to do with the future renaming of the space “Kodak Hall.” The second centers on whether renovations, scheduled for this summer and next, will actually improve the sound of music.
The morning after the Rochester Philharmonic and Oratorio Society performed Carmina Burana, two rather technical e-mails on the subject landed in my box. They are reprinted below the line.
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