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I tour a bit in America and a lot in Europe, Holland especially, where they have this forward-looking music scene because they got through the barriers 15 years ago. They gobble up the things I do. I go to the Far East - I like working with the orchestra in Singapore - but my favourite places tend to be the ones where it's more than turning up and doing a big concert. Next month I go to the Sydney Festival, where I've persuaded them to do the Lou Harrison concerto. As penance, though I don't mind it, I have to play the Gershwin concerto in the first half. And I hope to return year after year to South Africa, where I've been with the National Symphony Orchestra into Soweto. Education work is being done there for the first time. Previously they had never bothered to find new audiences, and now they are staring into an abyss which we may face too. Events there are a fast-forward version of what could happen here.

 

Joanna MacGregor

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Audiences and critics acknowledge that a play or concerto gains force in great rendition. A good play may overcome bad staging. A great concerto may survive a poor soloist. But it is naturally assumed that a more accomplished performance intensifies the impact of the work. The play's text or concerto's score does not change, but the right actors and musicians help realize its full potential. Among contemporary literary critics, however, one never encounters this notion in regard to books and printing. To recognize the sensual contributions of the physical elements of a book is somehow assumed to demean the spiritual purity of the text. To notice the book itself smacks of philistinism, and to make distinctions based on paper, binding, and typography brings accusations of elitism or decadence.

 

Dana Gioia

 

I had this very interesting experience when I was about 13. I went to Finland and it was dead in the middle of winter. It was freezing cold. There was so much snow and I went to Ainola, which is Sibelius' house. It was completely isolated -- just snow and forest, trees and the lake, completely beautiful but very quiet. And very serene. And I thought, well, this is where he was composing his stuff. And his great symphonies and the violin concerto, this is where it basically came from. I also got this little handbook about Ainola and there's a part that says that Sibelius wouldn't allow running water in his house because it disturbed him and his thought processes. So his daughters had to go out to the well which was half a mile away and then bring back water. So I thought, "Wow!" This person was really that much into control and silence. So you go and look at the concerto after that and the way it starts in the beginning: very shimmery. Very beautiful. But in a way it is isolated, and you feel kind of lonely when you're playing that. And gradually of course it builds up into this great big climax when every single orchestra-like instrument known to mankind is clashing and you're trying to break out there and you're trying to play your heart out. But really it did help me realize what he is like.

 

Sarah Chang

 

This commitment to end world hunger, and my music and story songs, are ways of dealing with the world as I see it. I'm playing 200 concerts per year-- half of them benefits-- all of them attempts at getting across the footlights to people I would enjoy spending time with in non-concert situations. And over the past 4 years of musical fun, millions of dollars have been raised for things I believe in. Telling stories of our time, building a lasting body of work, new songs, new records, new audiences, new challenges, and still that painfully exciting process of growth that can make one's life into a richly woven tapestry.

 

Harry Chapin

 

And we would play together,
like fine musicians should,
And it would sound like music,
and the music would sound good.
But in real life I'm stuck with
that same old formula,
me and my monophonic symphony,
six string orchestra.

 

Harry Chapin

 

Welcome to Obama’s America: nearly half the population is not represented on a taxable return—almost exactly the same proportion that lives in a household where at least one member receives some type of government benefit. We are becoming the 50–50 nation—half of us paying the taxes, the other half receiving the benefits. The voters now face a stark choice. They can let Barack Obama’s rambling, solipsistic narrative continue until they find themselves living in some American version of Europe, with low growth, high unemployment, even higher debt—and real geopolitical decline. Or they can opt for real change: the kind of change that will end four years of economic underperformance, stop the terrifying accumulation of debt, and reestablish a secure fiscal foundation for American national security.

 

Barack Obama