I think often of Grandma Moses, that extraordinary woman who was still painting at 101, whose works usually began with a frame, into which she would fit the board on which most of her smaller works were painted.
A lot of music programming is like that:  The frame comes first, usually in terms of a chronological order, the composer du jour, or a theme - a trendy one at the moment is "last sonatas."  Only rarely does the program reflect a train of thought based on sound, as Rubinstein's  all-Chopin programs invariably did.  I cannot forget their impact.


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