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Musorgsky was a proficient, but not virtuosic pianist, and most of his piano music is comprised of unambitious salon pieces. On the basis of these modest exploits, no one could have predicted his Pictures at an Exhibition.
In 1920, Nellie Melba’s singing was transmitted to Europe and Newfoundland via the wireless. In 1922 the BBC began broadcasting, and from the outset sponsored new music and relayed outside broadcasts to the nation (and from 1932, to the world).
In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault.
This final lecture will celebrate some of the great mathematical equations, and related algorithms, which have both changed the world as we know it and which are likely to change it in the future.
Mathematics and art are more similar than is commonly thought. Each is concerned with the process of being highly creative with abstract objects and of producing everlasting work of great aesthetic beauty.
Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him.
I will start by looking at the mythology that has gathered around the Golden Ratio, and also consider the fairness of cake-cutting, and changing choices in the Monty Hall problem.
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