There is a room in the Hispanic Society of America, a museum so quietly extraordinary that even most New Yorkers have never set foot in it — where the walls tell a different story of Spain. Fourteen monumental canvases, each between twelve and fourteen feet tall, wrapping around you for nearly two hundred and thirty feet of painted Spain.

The documentary filmmaker patiently waited for months until the fog of the Epstein's files dissipated to grab an opportunity to seat next to Leon Botstein to discuss what matters to his film on George Bristow. Now, al last, Leon Botstein perspective is part of Live and Music in the Age of Bristow, Montes-Bradley's documentary on 19th Century Music in America.

I intended to make a biography. The working title was simply George Bristow, and the plan was straightforward: rescue a forgotten American composer from the obscurity into which history had carelessly dropped him, and let audiences discover what they had been missing.