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dobbspic I write articles on science, medicine, nature, culture and other matters for the New York Times Magazine, The Atlantic, Slate, National Geographic, Scientific American Mind, and other publications, and am working on my fourth book, The Orchid and the Dandelion, which expands on my recent December 2009 Atlantic article. In August 2010, I'll be moving to London for a year to work on the book. I'll also serve as a senior fellow at City University London's MA science journalism program.

You're encouraged to check out my third book Reef Madness: Charles Darwin, Alexander Agassiz, and the Meaning of Coral, which traces the strangest but most forgotten controversy in Darwin's career; subscribe to Neuron Culture by email; see more of my work at my main website; or track Twitter feed, my Google Reader shared items, or my Tumblr log, which gets it all.

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    « Who's Driving the Psych Bus? [was 'Psychiatry at a crossroads'] | Main | Calvin Trillin, struttin' with some bbq »

    Musical roller coasters

    Posted on: November 24, 2008 10:41 PM, by David Dobbs

    Some musico-video relief from darker matters.

    First, from On an Overgrown Path:

    Here is the Zurich Chamber Orchestra putting the usual YouTube offerings to shame. The full screen version is even better.

    Path also led me to nice piece on the Wall St. Journal on Anna-Sophie Mutter. To my ear, only Gidon Kremer comes close in wielding seemingly unlimited chops with a broad and deep music intelligence.

    So what the heck. For video of Mutter & Kremer playing (separately), go below the jump:


    Mutter:


    Kremer. I've played the first four parts of this Bach piece (nothing like Kremer does). My violin teacher says of Bach's sonatas and partittas that "Whenever you play them seriously, at whatever stage of your life, you must bnring to them everything you have -- everything; and everything you have and are, and everything you don't have and aren't, will be expressed in what you play." The tension and emotion this generates internally is almost unbearable. You see it -- the tiniest fraction of it -- in Kremer's face.

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