Just before the start of the holiday season, I met my sister-in-law Ann, a yoga instructor, in Lenox, Massachusetts for the gift of a brief, restorative yoga retreat at the Kripalu Center. With a little time to spare before check-in, I decided to browse around the tiny town of Lenox, and unexpectedly discovered a musical gem on the top floor of a square brick building on Main Street.

Early this month I saw two concerts in Philadelphia that demonstrate a new trend — using visual effects inspired by film to highlight that purist of art forms, classical music. One concert was high-budget, one low. They were both effective, and they both invite interesting questions.

A few years ago, I was astonished by an amazing feat of musicianship. At a piano trio recital program for Tri-County Concerts, I saw and heard the cellist, Michal Schmidt, lay down her cello and move to the piano to perform Ravel’s Violin Sonata with violinist Min-Young Kim, so that Matt Bengston, who had just performed Ravel’s solo piano masterpiece Gaspard de la nuit, could take a much-deserved break.

My husband and I arrived in the Berkshires a few Sunday afternoons ago, too late to hear the Boston Symphony with soloist Yo-Yo Ma, which attracted many thousands of music-lovers to Tanglewood Music Festival. No matter, that same evening the young bassist and singer Esperanza Spalding was scheduled to perform.

Last weekend, I played and sang in a second celebration for my late teacher, pianist and choral conductor William Appling. It was one of the most joyful musical afternoons of my grown-up life, just as being at his summer music camp as a teenager meant absolute happiness.

James McBride, jazz musician and acclaimed author of The Color of Water, once gave a reading in Philadelphia that I’ll never forget. He talked about visiting a cancer ward and realizing that “cancer doesn’t care whether you’re rich or poor. It doesn’t discriminate.”

On a more hopeful note, the same thing can be said of creativity.