The Bay Area music community and the world lost an important voice and a respected, beloved teacher on Sunday, when composer Jorge Liderman died in an apparent suicide after being hit by a BART train at the El Cerrito Plaza station. He had recently taken a leave of absence from the music department at UC Berkeley in order to treat his depression. The news of his death came as a grievous shock to the wide circle of people who knew him and called him friend.

What makes live music so moving? Audiences might have wondered last month, as three Bay Area organizations presented extraordinary performances within the space of little more than a week. First came Mahler’s Symphony No. 8, performed by the San Francisco Symphony at Davies Symphony Hall; also that weekend, the San Francisco Opera revived Puccini’s La Bohème.

Composer Elliott Carter has been around for 100 years, literally. For 60 of them he has been at the forefront of serious American composition. But, like so many 20th-century composers, his music has had more limited exposure to audiences than his genius warrants. But that may be changing now. Next weekend, San Francisco Performances will divide two concerts devoted to his work between two generations of "young artists." The Pacifica Quartet will play his five string quartets on Saturday, Dec. 6. The next day, Dec. 7, Ursula Oppens will perform Carter's complete works for solo piano.

When experience comes to us in fragments, we often set about building them into a pattern that can be easily and neatly understood. That’s part of our human effort to understand the world: the need to find an interpretive key to a confusing set of experiences, but what if? What if, as in Samuel Beckett’s pathbreaking play Waiting for Godot, the key — like Godot — never comes?