I can thankyou enough for introducing me to this music. Beyond just genuinely loving it, I feel it’s quitely altering my feeling about New York City, with which I’ve always had a slightly conflicted relationship. I’ve found that if you replace the horns and the shouting with, say, Schubert or Telemann, the city becomes unbearaby beautiful. After years of thinly disuised rage on both our parts, it’s like the music has mediated a truce between us. Some early favorites. “Massenet’s Mediation”. If a more beautiful piece of music has ever been composed, I don’t know it. That “Bradenburg Concerto” is no joke, and I echo your sentiment regarding Beethoven. Whoa. I have no idea what the Vivladi piece from Giustino is actually about, but to me, it’s suggest deception, some kind of elegant double-crossing. It makes me feel like I’m a double agent knee deep in some kind of sexy espionage. I’ve decided the Wagner overture you included should come with a warning label. According to some quick online research, the opera deals with the struggle between sacred and profane love, which is arguably the only struggle there is. The other day, I was crossing the street, lost in my head about something, a not uncommon state of affairs. I was listening to the overture and the music began to swell, I suddenly realized that I had hands and legs and a torso and that I was surrounded by people and cars. It’s hard to explain exactly what happened. But I felt in that moment that the divine, however we may choose to define such a thing, surely dwells as much in the concrete and taxi cabs as it does in the rivers, lakes, and mountains. Grace, I realized, is neither time nor place-dependent. All we need is the right soundtrack. I suppose this new infusion of music in my life is, at the very least, making me reconsider my hospitality to dead, white males. And I’ve you to thank for that. How’s things, by the way?