“I think we’re meant to carry each other. I think that carrying someone you love and committing them is very important for us when we deal with death. We want to know that we have played a part and shouldered our burden.”

Whitacre's reveal: "I co-composed the “Mermaid Theme” with Hans Zimmer and conducted some of the choral sessions. I had the time of my life! Hans is a brilliant composer and a generous collaborator; can’t wait to work with him again."

Title sequences are sadly under-appreciated. When expertly wielded, there are few filmic tools more instrumental in setting the mood and tone for their audiences. Yet they get almost no attention, slaving away in relative obscurity. 

In addition to being about as close to Gould’s technically proficiency as humanly possible, Schiff brings a wonderful warmth and gentleness to Bach’s works — traits not always found in Gould’s breakneck virtuosity. 

This particular performance comes from the Irish vocal group Anúna, and features their founder (and frequent composer), Michael McGlynn. A thesis on his works -- Man, I love the Internet --  says that "rhythm is an important component" of his work, and that " development occurs primarily through repetition." No wonder he's drawn to "Fionnghuala."

Man, I loved him at that moment. He cared about winning; desperately. He wasn't interested in a Participation Trophy, or an "Attaboy" for second place. And nothing from me about "love of the game" or "competition as its own reward" would have made a shred of difference. He wanted to be celebrating a hard-fought victory with his teammates, not searching for silver linings.

Walking through the silencing snow -- my boots barely crunching through the crust that lies just beneath the surface -- brings with it a peace and a calmness that prepares me for the struggles of the office (or helps to strip me of those struggles as I return home to my family). It slows my racing mind (and sometimes, heart). And it makes me listen instead of hear.

In addition to the helpful blueprint, Reilly uses a word that resonated instantly with me: "exuberant." He's using it in reference to a particular part of the Vespers, of course, but there's an overall truth to it, as well. It's hard not to love a work that is so clearly excited about Our Lady.

The note he’s discussing occurs at the 3:10 mark in this spectacular recording by the Los Angeles Master Chorale. And while I’m not quite sure what he means by saying it’s the “most important note,” I strongly suspect that the majority of folks listening to the piece for the first time would recognize the moment Lauridsen’s talking about in his essay.