Robert P. Commanday, Editor

In the waning moments of this strange summer, the crickets, the highway traffic swelled by last-gasp vacationers, the leaf-blowers, the jets overhead, the boom-box cars, and Lord help us, the drumbeat of Infotainment, provide the dominant sounds in our environment. Lying fallow, good music has been waiting to restore our spirits. After this summer of our disaffection, and the beating taken by the commonweal and the common folk, do we ever need good music!

The just concluded week before Labor Day may even heighten the moment of renewal with the season openers now upon us. This particular week was, as usual, musically still, adding a little suspense to the anticipation. With no immediate concerts to review, then, this second issue of SFCV instead offers a feature article about the little-heralded but crucial Freeway Philharmonic, a retrospective overview of the Carmel Bach Festival, America's third oldest Bach festival, and a piece about the relocation and resumption of a happy tradition, San Francisco's Noontime Concerts. The reviews from last week's first issue (and all our future past reviews) may be found by clicking "Archives" on the navigation bar at the bottom of the page and following the search instructions.

In a curious twist in our culture, arts news, specifically reviews, has something in common with sports news. Both are set apart from other coverages in that the events described are complete in themselves, win or lose. Generally, the elements of the story, factors and reasons, can be described fully enough to satisfy the reader. Further, reportage of events in both sports and music (the art SFCV is concerned with) leaves the reader in a positive state. Whether partisan or casual, whether following the current run at the home run record or the fortunes of the 49ers, Raiders, Giants or Athletics, this symphony concert, that opera performance, the reader comes away with sense of personal involvement and connection not derived from most other kinds of news stories. Most of those, say of politics, world affairs, crime, do more off-putting and distancing than engaging of the person. In a word, the McGwire-Sosa chase has been a greatly needed lifter right now in the American field of vision (and dreams). So should the musical discussions just ahead.

The operas and concerts coming at us provide a genuinely needed restorative at another level. Not escape but elevation, and even, when the music and its performance are right, transfiguration. Great music is that reassuring and shared experience of humankind at its most sensible, artistic best. The performers are giving to the best of their abilities, a dedication that is itself is stirring, to recreate in sound the wonder they interpret from a printed score.

This week it begins again as the San Francisco Symphony precedes its season with a Gala celebrating the centenary of the singularly American genius, George Gershwin. Two days later the San Francisco Opera opens its season with Puccini's "Turandot" and Strauss' "Arabella." From then on, the offerings fan out throughout the region, a wonderful array of choices. Many of these are described in the performance calendars here and elsewhere. It is too varied and interesting a selection to be reduced to a list of recommendations. It's yours to make the most of, the good fortune of those who can be here to share in it.