Awkward Timing For Merce’s ‘Legacy Plan’

“In June, the choreographer announced an initiative called the Living Legacy Plan that would safeguard his work and provide for a smooth transition of assets in the event that he should no longer be able to serve as leader of his New York-based dance company. It was an innovative move in a career marked by innovation. But with Cunningham’s death Sunday, his foundation finds itself in the difficult position of having to fund the $8-million plan as it simultaneously goes into effect.”

Reconstructing Mozart’s Most Mysterious Instrument

“Mozart’s original score for the 1791 opera The Magic Flute called for a glass harmonica or keyed glockenspiel to represent a set of magic bells. The instruments were obscure even in Mozart’s day but more than 200 years after his death they no longer exist and no one knows how they worked.” Modern orchestras usually use a celesta, but that won’t work for period-instrument bands. Then a London organ maker set to work on solving the conundrum.

Dilbert‘s Mastermind Battles For His Own Larynx

Scott Adams “was a cartoonist, but he was also an engineer, and both fields have a tendency to attract stubborn people who are immune to rejection and who disregard obstacles.” He needed all those qualities, plus his considerable powers of observation, over the past four years as he dealt with vocal cords that simply stopped working at certain times and places.

Man Booker Semifinalists Include Coetzee, Cromwell, Cheeta The Chimp

“Literary heavyweights AS Byatt and JM Coetzee were today named on this year’s longlist for the Booker prize – which also features a first-time writer purporting to be Tarzan’s chimpanzee.” Other candidates include “Wolf Hall, Hilary Mantel’s gripping account of Henry VIII’s Tudor court told through his chief minister, Thomas Cromwell”; “Adam Foulds’ The Quickening Maze, set in a private asylum used by the Victorian poet John Clare”; and Colm Tóibín’s Brooklyn.

How The British Learned To Stop Worrying And Love The Spanish Masters

“For an absurdly long time, the British loathed Spain. Memories of the Armada, coupled with fears about the stern and terrifying Catholicism of the Spanish Inquisition, ensured that Grand Tour aristocrats preferred to visit Italy. But after the Napoleonic army invaded Spain in the early 19th century, attitudes swiftly changed. … At the same time British artists and collectors [alike] discovered, with a sense of wonder, that Spain had produced some of the most outstanding western painters.”