It’s audio of me on the air at WOBC as someone else tries to distract me from the job at hand of delivering a homily on the “massive” Busoni Piano Concerto, Op. 39. I don’t like the sound of my voice today but it sounds better now than it did in this take from what I assume was 1988.

Here is what the Dragon Speech-to-Text recognition engine thought I said in the first session:

Berkeley and is also professor’s history and philosophy of science of London and he says that criticism is indispensable for an artist that is necessary for the improvement of the perfection of his work this idea is no longer as unpopular as it used to be that one is not prepared to ascribe to the critical faculty of more of a more than subordinate role the faculty is helpful and it certainly must be used compared with the fact that the act of creation however which is the one and only source of all significant achievement is peripheral and without special merit now one of the surprising features of modern art and to a lesser extent of modern science is that returns the act of creation itself into an instrument of criticism or sated different ways invented a form of criticism that is nourished not only by a few ideological schemata but by all the manifold ideas feelings anticipations which the artist has at his disposal disposal the new criticism that results from such inversion roles as directed against the traditional arts as well as against other traditional forms of life is artistic as well as political its inventor is most outstanding practitioner is virtually sunny. It hasn’t anticipated all the tricks and special effects which plays an important part in the theatrical Brecht INS is another contemporary dramatists the idea of distant creation fell from the witch Brett turns into a handmade of ideology in which INS advised allowed to degenerate into an instrument of madness and oppression originated with him in a form that was it wants free and humanitarian of that also lacks the hysteria of the later manifestations just as the artist who wants to move must not be moved himself unless he is prepared to lose mastery of the means at his disposal in the same way the spectator who wants to get a taste of the theatrical effect must not confuse it with reality was the artist artistic enjoyment deteriorated into human compassion the spectators remain critical so that he is able to freely use his mind and his artistic sensibility based on such presuppositions one might well expect that Opera still has a future without background behind us now is take a listen to it to this massive piano piece Sony general Opus 39 for piano and Orchestra and male chorus will hear the great pianist was pianist John Ogden with the London role for harmonic Dale Ravenel conducting