Alex Abramovich

The Budapest Festival Orchestra played Beethoven at Lincoln Center this week, the First and Fifth Symphonies bookending the Fourth Piano Concerto on Sunday, and the Eighth and Ninth Symphonies on Monday. The standing ovations began on Sunday: Richard Goode gave a commanding performance; students from Julliard and Bard showed up onstage, unexpectedly, for the Fifth Symphony's finale. I bought my tickets months ago, well before the presidential election. But the election followed me into the hall. Throughout the interval on Monday night, an elderly couple discussed the day's headlines in despairing terms. A few minutes earlier, two hundred rabbis and cantors had marched past Lincoln Center, on their way from 88th and Broadway to the Trump International Hotel on Columbus Circle, protesting against the president's ban on Muslim refugees.

‘I wrote criticism as a mercenary and would never have written it otherwise,’ Donald Judd wrote in 1974. ‘Since there were no set hours and since I could work at home it was a good part-time job.’ Caitlin Murray quotes this in her introduction to a new collection of the artist's writing. Like everything I’ve read by Judd, it's matter of fact, utilitarian – plain in ways that conceal the effort that might have gone into the actual work.

I'd heard there was 'nothing new' in Ron Howard's Beatles movie, and in the grand scheme of things this turned out to be true, though there's new concert footage and excellent bits with the fans. (Among other things, you'll see a tweenage Sigourney Weaver, up in the nosebleed seats at the Hollywood Bowl.) But forty-five minutes into the film, there's a striking set piece.

Jim Dickinson – whose 1972 record Dixie Fried is about to be rereleased – grew up in Tennessee but I met him, fifteen years ago, in North Mississippi, in the double-wide trailer he lived in at his Zebra Ranch recording studio. He'd played with just about everyone by then: Bob Dylan, the Rolling Stones (

This clip of Elvis Presley singing 'Trying to Get to You' is from the informal, unscripted segment of his 1968 'comeback' TV special. He was 33 when the performance was taped, at the height of his powers – given the limitations of live TV in the 1950s, this later recording might be the single best way to see what the original fuss had all been about. It's also our first and only chance to see Presley play the electric guitar, which he does well enough here, with considerable feeling. But the Gibson Super 400 that he's playing belongs to the man on his left.