I have been reading the 2nd edition of Imac�s book about Shostakovich especially what he has to say on the late string quartets - wondering how far his account of the emotional landscape which they portray might apply to Pink Moon and the 5 last songs. With the anniversary celebrations I have got to hear sqs 1 and 7 at the Barber from the Kopelman and 3 from the Tackacs at the Pittville - also 6 and 11 from the Jerusalem at the Pump Rooms in Bath. Also on CD, 4 6 and 8 from St Petersburg and 12,13 and 14 from the Shotsakovich.

I have been impressed by the way that Imac surfaced questions about how music means in this his first book - by considering the varying degree of authenticity in the different 4tets. For instance, low authenticity in sq 6 - even more than in 1 and 4. Purity in 7 - deception in 3.

Parallel with this I have been keeping up the Adorno - especially Minima Moralia and latterly the Philosophy of the New Music. You could pitch Imac�s view that all music is programme music against Adorno�s commitment to the 2nd Viennese School and you can certainly give an account of Pink Moon from Minima Moralia - an account of what the liver believes to be a damaged life.