Last night I was feeling glum. Then I happened upon this. Listen to this piano sing.
Wolfgang Amadeus Mozart, Piano Concerto No. 27 in B flat major; Maria João Pires (piano), Chamber Orchestra of Europe (Trevor Pinnock, cond.), live
Why love what you will lose?
There is nothing else to love.
—Louise Glück, “From the Japanese” (excerpt)
Eugene Ysaye (1858-1931), Violin Sonata No. 3 in D minor (1923)
Maxim Vengerov, live
Hilary Hahn, live
Fragments from the December issue of Poetry:
Mother died last night,
Mother who never dies.
—Louise Glück, “Nocturne”
—May Swenson, “Banyan”
Poetry knows we are as close as a feather to disaster.
—Marianne Boruch, “Melodrama”
career plans for the next life
Keller String Quartet, Johann Sebastian Bach (1685-1750), The Art of the Fugue (excerpts); György Kurtág (1926-), Officium Breve (excerpts)
Merce Cunningham Dance Company, Second Hand (1970),* New York (Brooklyn Academy of Music), 2011
What if your entire life—every thought, every movement, every word—were actually a work of art, only pretending to be something ordinary?
*Merce Cunningham, choreography; John Cage, music; Jasper Johns, costumes.
Still, after 30 years, the best gospel-music movie I’ve ever seen.
Say Amen, Somebody (1982): The Barrett Sisters (“He Has Brought Us”), The O’Neal Twins (“Jesus Dropped The Charges”), Willie Mae Ford Smith (“I’ll Never Turn Back”), Thomas A. Dorsey (“Precious Lord” [excerpt])
Ludwig van Beethoven (1770-1827), Piano Sonata No. 32 in C minor; Daniel Barenboim (piano), live, Berlin, 2005
[O]ne must still have chaos within oneself, to give birth to a dancing star.
—Friedrich Nietzsche (1844-1900), Thus Spoke Zarathustra
“Don’t Start Me Talkin’” (S. Williamson)
Sonny Boy Williamson II (AKA Aleck [or Alex] “Rice” Miller), recording, 1955
Bob Dylan, TV show (David Letterman), 1984
There are some enterprises in which a careful disorderliness is the true method.
—Herman Melville (1819-1891), Moby-Dick