Book contents
- Frontmatter
- Dedication
- Contents
- Foreword
- Acknowledgments
- Part One Interviews
- Preface to the Interviews
- Composers
- Conductors
- Instrumentalists
- Singers and a Record Producer
- A Teacher
- Music Administrators
- Snippets
- Claudio Abbado
- Sir Neville Cardus
- Aaron Copland
- Antal Doráti
- Géza Frid
- Sylvia Goldstein
- Ralph Kirkpatrick
- Witold Lutosławski
- Vlado Perlemuter
- Arthur Rubinstein
- György Sándor
- Walter Susskind
- Joseph Szigeti
- Part Two A Memoir
- Notes in Retrospect
- Index
- Miscellaneous Endmatter
Aaron Copland
from Snippets
Published online by Cambridge University Press: 05 January 2014
- Frontmatter
- Dedication
- Contents
- Foreword
- Acknowledgments
- Part One Interviews
- Preface to the Interviews
- Composers
- Conductors
- Instrumentalists
- Singers and a Record Producer
- A Teacher
- Music Administrators
- Snippets
- Claudio Abbado
- Sir Neville Cardus
- Aaron Copland
- Antal Doráti
- Géza Frid
- Sylvia Goldstein
- Ralph Kirkpatrick
- Witold Lutosławski
- Vlado Perlemuter
- Arthur Rubinstein
- György Sándor
- Walter Susskind
- Joseph Szigeti
- Part Two A Memoir
- Notes in Retrospect
- Index
- Miscellaneous Endmatter
Summary
I forget what took me to Leeds in October 1976, but I expect it had something to do with the promotion of Hungarian music. It may have been some sort of a festival, for Aaron Copland was also there, to hear a performance of his Nonet for three violins, three violas, and three cellos (1960). It goes without saying I had my tape recorder with me. I scribbled the date of our interview on the cassette: October 18. Four days later, I used the other track to record an interview with Witold Lutosławski in Amsterdam (also included in Snippets).
Copland and I had first met in Budapest in 1969. Two years later, I was asked by Editio Musica Budapest to translate his book The New Music into Hungarian. Copland was invited in time for its publication; he also conducted a concert which included Roy Harris's Third Symphony and his own Clarinet Concerto. That was in 1973; in the same year, we also met in New York.
In 1976, then, it was a question of resuming our conversations left off three years before; in the meantime, we had exchanged quite a few letters.
My questions did not immediately strike a chord, even though I had expected Aaron to launch with relish into the subject of the authenticity of interpretation. The performance in Leeds of his Nonet came in handy from that point of view.
- Type
- Chapter
- Information
- From Boulanger to StockhausenInterviews and a Memoir, pp. 236 - 237Publisher: Boydell & BrewerPrint publication year: 2013