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	<title>Musical America Blogs &#187; Berg</title>
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		<title>Finding the Right Gimmick</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4184</link>
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		<pubDate>Wed, 14 Mar 2012 16:01:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alex ross]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[BBC]]></category>
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		<category><![CDATA[leon botstein]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Sedgwick]]></category>
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		<category><![CDATA[verdi]]></category>

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		<description><![CDATA[by Sedgwick Clark Shaham’s 1939 Dark Horse Gil Shaham had an epiphany. After years of recognition as one of the brightest young lights of the concert circuit, the Israeli-American violinist conjured one of the most imaginative programming concepts in years. He had been struck by how many violin concertos written in the 1930s had entered [...]]]></description>
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		<title>A Genuine Jolt at the NY Phil</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3847</link>
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		<pubDate>Wed, 08 Feb 2012 19:31:59 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Boulez]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[copland]]></category>
		<category><![CDATA[Frank Peter Zimmermann]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Kurt Masur]]></category>
		<category><![CDATA[leonard bernstein]]></category>
		<category><![CDATA[Lindberg]]></category>
		<category><![CDATA[Magnus Lindberg]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[Mendelssohn]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[philadelphia orchestra]]></category>
		<category><![CDATA[Sedgwick]]></category>
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		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[Tchaikovsky]]></category>

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		<description><![CDATA[by Sedgwick Clark Alan Gilbert and the New York Philharmonic are on a European tour for a couple of weeks, and for a change I didn’t roll my eyes in despair when I saw the list of repertoire. His predecessors as music director, Kurt Masur and Lorin Maazel, for all their superb work at building [...]]]></description>
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		<title>Omus in Person</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3775</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3775#comments</comments>
		<pubDate>Wed, 01 Feb 2012 16:50:28 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Aaron Kernis]]></category>
		<category><![CDATA[Alicia de Larrocha]]></category>
		<category><![CDATA[Allan Kozinn]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Brian Kellow]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Christopher Hunt]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[classical music]]></category>
		<category><![CDATA[Deborah Borda]]></category>
		<category><![CDATA[Festival]]></category>
		<category><![CDATA[Jane Moss]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Kirk Varnedoe]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Mary Lou Falcone]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[performer]]></category>
		<category><![CDATA[Schmidt]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[Town Hall]]></category>

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		<description><![CDATA[by Sedgwick Clark I first met Omus Hirshbein in Carnegie Hall’s executive offices, where he worked for a brief time in 1973 between tenures at the Hunter College Concert Bureau and the 92nd Street Y. He was walking out of a planning meeting, saying in frustration to anyone nearby, “They won’t listen to me—they should [...]]]></description>
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		<title>Masterly Mann at Manhattan</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3574</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3574#comments</comments>
		<pubDate>Wed, 11 Jan 2012 17:19:34 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[carnegie]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[chamber music]]></category>
		<category><![CDATA[colin davis]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[leon botstein]]></category>
		<category><![CDATA[Lindberg]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>

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		<description><![CDATA[by Sedgwick Clark In their wildest dreams, the six string quartets couldn’t have asked for more. Nor could music lovers, as the Manhattan School of Music rang in the New Year with what it called the “Inaugural Robert Mann String Quartet Institute.” Yes, this is why I left Muncie, but this time my hometown friends [...]]]></description>
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		<title>Ruminations and reflections, Lyonnais</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2973</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2973#comments</comments>
		<pubDate>Mon, 17 Oct 2011 14:52:07 +0000</pubDate>
		<dc:creator>parksm</dc:creator>
				<category><![CDATA[Curiously Random]]></category>
		<category><![CDATA[A Concert for New York]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Andrea Bocelli]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Bach]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Christopher Plummer]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[Frank Peter Zimmermann]]></category>
		<category><![CDATA[John Corigliano]]></category>
		<category><![CDATA[Lyons]]></category>

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		<description><![CDATA[By Alan Gilbert I’ve recently tried my hand at acrylic painting, and just bought a how-to book that stresses the overriding importance of composition — i.e. form and the use of spatial elements — in a successful work of art. By that measure, I can tell you right now that this blog entry will not [...]]]></description>
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