Objects of our creation, upon entering the world,  surpass our will and outlast our mortality—in giving them form, they are no longer “ours.” And yet, in the infinite paradox of creation, our identity is inevitably enmeshed with what we lovingly produce. Our Herculean task becomes that of graceful renunciation of our work, recognizing, as Mary Oliver puts it, “when the time comes to let it go.” Haydn’s renunciation is one of deep reverence. Now granted the superlative, “the f

It is certainly no coincidence that many of history’s greatest geometers were poets, and many of our revered poets and orators fans of Euclid. French mathematician Henry Poincaré speaks poetically of symmetry, writing, “the harmony of the diverse parts, their symmetry, their happy balance; in a word it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the details.” Bacewicz’ third string quartet,

Unlike Beethoven’s will to triumph over despair, Schumann’s ideas emerge and recede like the tide, ultimately unresolved, but by no means defeated or disillusioned. Rather, the emotional impetus of his 3rd string quartet mirrors that of Virginia Woolf: hopeful figures flutter in and out, side to side, across the quartet, and the music is spurred on by the ebb and flow of wave-like currents. The work begins