Today was AWESOME
So, a professor of mine was giving a lecture today on the Copland Piano Variations, which is a great piece, by the way. He happens to teach two classes on thursdays, both an hour and a half, and then between them are faculty meetings, and immediately after the second class was his lecture. So, he canceled that class, to give himself time to warm up and such (the lecture was entirely done at the piano, since he is also a quite accomplished pianist). That class was Schenkerian Analysis, which I am in. I am also in his other class, Post-Tonal Analysis, about which I received an email saying, basically, 'I am going to use class time to give the same lecture I am giving this evening, since it is completely relevant to this class, and many of you wont be able to attend this evenings lecture. You only need attend one, but you must attend at least one.' So, I ended up with the ability to go see today's rehearsal with the BSO of John Adam's El Niño, very sadly not staring Dawn Upshaw, who canceled the rest of her performances for some time due to beginning treatment for breast cancer. So, I went there, ended up sitting a few feet away from the man himself, and at break, I chatted with John Adams, one of the composers today I respect the most, for several minutes, and he was one of the most pleasant people possible.
Also, since the lecture I later attended was on the Copland Piano Variations, there was a lot of talk about Nelly Maude Case, who wrote her dissertation from BU on that piece [and Coplands other piano works], and who I suffered under for Lit&Style 3, where she talked about that piece relatively substantially. That was one of the few positive things she did in that class, but I still couldn't help being angry every time I heard mention of her name, and thinking "damn right!" every time Kopp said "I tend to disagree with Nelly Case."
Anyway, thanks for everything, David Kopp!
Also, since the lecture I later attended was on the Copland Piano Variations, there was a lot of talk about Nelly Maude Case, who wrote her dissertation from BU on that piece [and Coplands other piano works], and who I suffered under for Lit&Style 3, where she talked about that piece relatively substantially. That was one of the few positive things she did in that class, but I still couldn't help being angry every time I heard mention of her name, and thinking "damn right!" every time Kopp said "I tend to disagree with Nelly Case."
Anyway, thanks for everything, David Kopp!