The veteran composer-conductor, 86, is in sparkling form in conversation with Frank J. Oteri for NewMusicBox. To read the full text, click here.
AP: My problem and my flaw, if I can pinpoint just one, is that I don’t re-write. I hate re-writing. Once I’m done, I put it away, and it’s over with for me except if I make a mistake in terms of the technical use of the instrument. I once wrote an impossible double stop for viola. I just suddenly wasn’t thinking; the player would have to cripple his hand. So then I’d re-write it—or leave it out; that’s even better! I can’t take myself that seriously. I love writing and I’m very serious about it, but when it’s over, it’s over. It’s not for the ages.
FJO: Not for the ages?
FJO: So the reason you’re fighting against time to write all this music isn’t to ensure a legacy.
AP: Well, that’s an interesting point. When I say not for the ages, I can’t visualize anybody doing my pieces 50 years from now. I’m just glad if they do them Wednesday, which is why I can only write for someone specific. I don’t like to write into the void. I like to know who’s going to play it and where and all that. Then it helps me; it helps me a great deal. I wrote an awful lot for Anne-Sophie Mutter. I know her sound and I know what she can do best. That makes life much easier. I wrote a piece last year—a concerto for trumpet, horn, tuba, and orchestra, which was a commission from Pittsburgh because they had three big stars. That was great fun for me because I don’t play any one of those things. I couldn’t tell you the positions of the trombone and all that, but I have them in my ear, and it helps a great deal that I’ve conducted so much because the sound of instruments and the sound of the combination of instruments are not alien to me at all. I know what I’m doing at the piano, but I don’t write piano music very much.
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