Wolf’s harmonica playing was always the right amount. He would never do anything on the harmonica that would detract from you waiting to get back to Wolf’s voice. . . . There is a certain lonesomeness about the harmonica that just fit the Wolf’s character in voice, in song, in lyric; and he just played that just enough to titillate things he was going to do next with his voice.
Marcos Balter (1974-), Frisson (2011); Chicago Composers Orchestra (Matthew Kasper, cond.) with Eric Lamb (flute), Chicago, 2011
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lagniappe
reading table
Speculative, imaginative writings—texts that ‘open possibility’—help us to live because the definitions by which we live are themselves productions of the cultural imaginary.
—Frances Richard, “Multitudes” (Poetry, May, 2014)
Johann Sebastian Bach (1685-1750), Violin Sonata No. 1 in G minor (2nd Movt.)
Henryk Szeryng (1918-1988), live
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Arthur Grumiaux (1921-1986), recording
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Yoojin Jang (1990-), live
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lagniappe
reading table
[A] mad person not helped out of his trouble by anything real begins to trust what is not real because it helps him and he needs it because real things continue not to help him.
—Lydia Davis, “Liminal: The Little Man” (The Collected Stories of Lydia Davis)