This space has been quiet for four months, but, for once, I have a decent excuse, as I have doing my utmost to take advantage of the flatteringly good fortune of a fellowship at the Radcliffe Institute for Advanced Study at Harvard. The full, worldwide panorama of post-World War II music requires diligent pursuit! Nevertheless, I am giving it a shot. If you’re in Cambridge, feel free to drop by.
Still, it’s a good time to catch up on collating some other work. I am very happy once again to be mingling with the fine souls at NewMusicBox, this time with some ruminations on music’s ability (or lack thereof) to connect:
- On Empathy
NewMusicBox, February 14, 2018.
Courtesy of the implacable nature of the church calendar, there’s also two more choral introits to add to the ever-expanding list:
- Guerrieri: Hark! a Gladsome Voice is Thrilling (2017) (PDF, 53 Kb)
- arr. Guerrieri: I Got a Home in That Rock (2018) (PDF, 57Kb)
And the Globe column has been scaled back to a monthly affair, but continues to lurk around the edges of the newspaper industry:
- Score: William Billings and Jeremiah Ingalls.
Boston Globe, October 27, 2017.
- Score: Ligeti’s oblique Bagatelles.
Boston Globe, November 1, 2017.
- Score: Handel’s Messiah and the American experiment.
Boston Globe, November 30, 2017.
- Score: Esquivel’s mid-century modernism.
Boston Globe, January 4, 2018.
- Score: Lachenmann’s dialectic, mimetic Kinderspiel.
Boston Globe, February 1, 2018.
Put it all in one place like that, and I seem really productive. Negligence has its advantages.