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I don’t think it’s done well all that often, but frankly I read as much obtuse commentary on painting, poetry or film as I do on music.
“Classical music is not in some distant fortress, high above the plains of society, but really is right down there in the middle of society.” There are many shining examples of good and great writing on music.
I had trained as a musician, although never to a very elevated degree, and also composed music – or tried to – from around the age of nine or 10. Writing was my other great love when I was younger, but I didn’t try to combine the two pursuits until I was doing a radio show in college which required me to write out announcements for programmes I was doing.
We also published some CD reviews, so those were my first official acts of music criticism.
This elegant collection of essays ranges across eighteenth and nineteenth-century thought, covering philosophy, science, literature and religion in the Age of Goethe.
A recognised authority in the field, Nisbet grapples with the major voices of the Enlightenment and gives pride of place to the figures of Lessing, Herder, Goethe and Schiller.
Thematically arranged, the five volumes provide ready access to his contributions across central areas of modern practical philosophy - the philosophy of practical reason; the philosophy of personal identity and intention; political philosophy; the philosophy of law; and the philosophy of revelation and the role of religion in public life.
Fully cross-referenced, cross-indexed, and introduced by the author, the Collected Essays reveal the connections and coherence of the different branches of Finnis' work, showing the full picture of his philosophical contribution for the first time.
I was planning to go to graduate school when I started to get occasional freelance assignments.
I was reviewing a great many CDs for a magazine called became interested in having me as their very junior fifth-string critic.