Still thinking about the Anderszewski concert: The program order was changed so that his concerto followed immediately after the overture to The Magic Flute--an opera that means so much to him that he knows it by heart and "performs" it often.

Pondering this made me better understand the quality of the supposedly out-of-tune piano entrances to which I referred a couple of days ago. Viewed operatically, it's not that they are so much out of tune as tremendously exposed. The sound waves are the subject not the notes per se, but the way the waves strike the ear. How like the unaccompanied voice in opera entering without the glorious support of the orchestra!