When Elizabeth Guaragna walks into a music agency and applies for a job, she’s stormed what she thinks is an enemy encampment. She accepts a position working closely for a man she’s been raised to despise, famed music impresario Alfred Rossiter, all the while barely understanding herself, her motives, or the reasons why she lies about her name and background.
WXXI Classical Blog
You’ve probably heard the news. In a comprehensive front page story published in Sunday’s Democrat and Chronicle, Stuart Low reported the Rochester Philharmonic Orchestra may be facing an operating shortfall in excess of $700,000.
But it could be much worse.
Click here to hear a podcast with DM for how it all happened.
I couldn't resist posting just a few more John Cage links before this space gets back to being all-Copland all the time.
Music, what does it communicate?
Is what’s clear to me clear to you?
Is music just sounds?
Then what does it communicate?
Is a truck passing by music?
If I can see it, do I have to hear it too?
If I don’t hear it, does it still communicate?
If while I see it I can’t hear it, but hear something else, say an egg-beater, because I’m inside looking out, does the truck communicate or the egg-beater, which communicates?
Which is more musical, a truck passing by a factory or a truck passing by a music school?
-John Cage, Silence
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: