Russell Platt, a composer and critic, is on the staff of The New Yorker.
It’s a cliché to say that an artist draws his power from his
contradictions, but the lives of the great composers provide easy grist
for the mill.
Near the end of Parallels and Paradoxes, a recent collection of
dialogues on music and society between the conductor and pianist Daniel
Barenboim, music director of the Chicago Symphony