The final published notes of Oliver Sacks were perfectly pitched.
In the New York Times he wrote fondly of the family Sabbath he remembered as a child. In the New Yorker, he discussed his mother’s signature Sabbath dish. Click to read them one after the other.
Although never a religious man in the conventional sense, Sacks was able to see as few atheists can the beauties that faith brought into the world and the benefits it can still offer in our over-hasty, ill-considered modern life.
Pause. Think. Rest.
If you have evidence that it can, there’s a study going on at Glasgow Caledonian University that wants to hear from you. Click here for details.
Watch some more. And share.
Just watch. And share.
From a new Toccata release: “Gabriel Fauré: Songs for Bass Voice and Piano”; Jared Schwartz, bass, Roy Howat, pianist.
José Serebrier has been studying the manuscript that Antonin Dvorak lost before he could correct it.
Had he heard the work and seen the score again, he would have certainly corrected the harmonic errors in the 4th movement. These are obviously errors because the clashing dissonances make no sense in the context of late 19th-century musical development. The ending of the final movement was hastily written in order to make a competition deadline…
