Dear old Lou is here in Eugene for the Bach festival, and he just spoke for
five minutes, covering:

Esperanto.
Being a fire-fighter and florist.
How glad he is to be sponsored by Wells Fargo, "my bank."
His mother, a "frisky, frolicsome woman, who lived in in Alaska and
  taught us kids four-letter words."
Being a melodist is "emotional math."
The difference between Turkish usul and Indian tal.
"I don't write in any style."
He is writing a book about Korean music.
The size of the Chinese emperor's foot determined the pitch pipe, hence
  tuning differences between various dynasties.
His fourth symphony owes as much to Gregorianh chants as to Indonesian
  gamelan.
Dennis Russell Davies is recording all seven of his symphonies.

That was at about the four-minute mark, and I ran out of space in my
notebook.

Unrelated item:  Juliana Banse will sing Sophie this fall in the SF Opera,
and my prediction is that Octavian's choice in dumping the Marschallin will
make perfect sense this time.

Further unrelated:  It's a system analyst's nightmare to watch how the
1126+ Bach-Werke-Verzeichnis are squeezed into the 170 CDs of Helmuth
Rilling's Edition Bachakademie.  There will be supplementary CDs from here
to kingdom-come.  You start with BWV 1 and record it on CD No. 1, and then
all hell breaks loose.  In addition to keeping the music in chronological
order, there is that pesky little 74-minute limitation for mix and match.
Then, there are the quirky problems such as a Suite and a Preludium are
both assigned BWV 815, so you go A & B, but then you pick up works without
an assigned number...  and whole klavierbuechleins (for Anna Magdalena and
Wilhelm Friedemann, among others) that you cannot give a single number,
u.s.w.  Who has any energy left to perform the music by the time you
figured this out? How could the man write so much? And so well? And
what about the works we don't even know about?...:(

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