0 .9 t { a4 t ! . & ยข ' # c3 I # t '# e ' t - t ttAWc t A 4! s a rs ~ xe . ~ I N T E R V I E W done it. good contrast in programming. They're L: I'm going to ask you a question: Do D: Do you think there are many all wonderful works. you like living? Which bits do you like major differences between the U.S. and D: Now, you've rehearsed with the best? Britai blyCSO already, correct? D: I see-it's a matter of what mood L: Ohabsolutely..L: Well, not for these con- you're in. D: What sorts of things? certs. I come up on Sunday next, but L: Whatever you're doing, isn't it? L: Well, I find that the optimism of I've worked many times with the Any music you're doing is bound to be America is so wonderful.. . You still Chicago. I know them very well. the best for the moment you're doing it. get a sense of everything is possible if D: Something that I've always won- D: What do you think of other forms you go about it in the right way and dered about is when you're dealing with of music, such as jazz or popular work hard and strive to succeed. It's a a group of musicians that's so superb, music? very positive society, a very positive what is the exact purpose of a conduc- L: I'm very intrigued with certain sp e a world. And Europe, I find increasingly, tor? I've been in situations where the aspects of jazz. I have recently been is a very negative world. If you make a conductor was just trying to hold the working with Wynton Marsalis, who's a Renowned conductor Raymond proposal to do something, the im- thing together, but ... . staggeringly good modern jazz player. Leppard will be in Ann Arbor mediate response in America is 'Oh, L: Well, that's elementary, but the He's an extraordinarily gifted chap, that is an interesting idea, lets see if we point of a conductor is to coordinate, to above being a damn good classical tomorrow night to conduct the can do it.' In Europe, like as not, you'll produce a piece of music from a single trumpeter, too. Yes, I'm interested in Chicago Symphony Orchestra at the get the answer, 'Oh, no we couldn't point of view, isn't it. I mean, as you anything that speaks and anything that Michigan Theatre. Leppard, who is possibly do that. Well, I mean, we rightly suggest, an orchestra full of says anything worthwhile,, of course currently principal guest conductor might talk about it, perhaps, but I don't such superb players, as the Chicago I'm interested in. I'm not interested in hold any hopes for it.' That's, I'm afraid, Symphony is, is going equally to be full of things that don't, but anything that the view of Europe generally. It's very players with quite positive and in- makes lively sense, I'm for it. to Daily arts writer Eric Mattson. negative, a no place, and America's a teresting ideas. That sort of intensity of D: Have you composed? Daily: Could you tell me how you first yes place. understanding, apart from the L: I've composed quite a lot of film got involved in classical music? D: Do you think that's reflected at technical ability, is great - it feeds a music. I've done quite a lot of recom- Leppard: Well, I don't think I can all in the music? conductor, it's wonderful to be with that position of 17th century opera. I've just remember that far back, I'm sorry to L: No, I don't really. There are dif- sort of creative playing. But never- done music for The Hotel New Ham- tell you. I don't remember a time when ferences in the music, but I think theless, if you get a hundred people with pshire and I did Lord of the Flies years I was conscious when I wasn't involved. they're more of an economic nature. I 100 different views of a piece, you're ago. Peter Brooks film-still going I started to play the piano at a very think musicians are very characteristic very likely - as if you mix all the around, in fact. early age - I can't remember exactly people, you know, all over the world. colors, you only get black, don't you? D: I suppose the answer to the when - but it's been a constant preoc- That's why we get on rather well with What the conductor's job with any or- question would you prefer to compose cupation ever since. each other, I think. We're after the chestra, but particulary with the or conduct is the same as the.. .. D: Have you always been fascinated same sort of thing, and we're very hap- Chicago, is to focus it into one point of L: Exactly the same. by classical music? I know a lot of py when we're finding the same sort of view. Otherwise you get nothing - you D: Have you ever been to Ann Arbor children are resentful towards their thing. We're not really that difficult to get a mish-mash. before? parents for making them play the get on with, I believe, especially with D: When Leonard Bernstein was in L: Yes, oddly, I have. I came many, piano. each other. Ann Arbor last year with the Vienna many years ago. One of my first jobs L: Oh, no, I asked to. My parents D: I want to talk a little about the Philharmonic, during one piece,he when I left Cambridge, when I came in- weren't very musical and I badgered pieces you'll be conducting. What made just stopped conducting altogether. to the profession itself full time, I was them to allow me to learn. you choose those three pieces? Would you ever do anything like that? lucky enough to get hired as the pianist D: You started out playing the piano. L: Well, it came out of discussion, I He just kind of stood there for a couple and keyboard player, harpsichord and Have you ever tried your hand at other guess. You gradually build to the idea minutes. so on, of the Philharmonic Orchestra in instruments? that the first two pieces are both by L: They can keep time, if that's what those very early great days in the '50s. L: I play the viola, harpsichord of cour- young composers - I mean composers you're saying. They also don't need . And I came when Wen Carrion brought se, I used to play the violin a bit. Most of when they were very young. Barber's correcting of notes. It's a different level the orchestra to America, and I don't them I've had a look at - a shot at, so to piece was written while he was still a of playing from a less good orchestra know what year that was but it must speak. But I used to play the viola... I student at Curtis, and it was played by where you would have to start and have been about '52, maybe, '53, could used to make my living in the early days the Philadelphia in those days. rehearse notes. You know perfectly be, '54 even-I don't know. Anyway, playing the viola as well as piano - o Now, Shostakovich composed it when well that they're going to get the notes that was my first visit to America and I and harpsichord are my main instrumen- he was 19. S they're both very young: right. You might come to some difficult absolutely adored it. I fell head over ts. But when you're starting out this young, lively, exciting, full of flair, full ensemble moments, in which case you heels in love with the country. It's very profession, you work where you can, you of vivacity, and Dvorak is a great better rehearse, but notes, you really exciting and also because the music mature symphony, by a much older don't haveto worry about at all. wasvery exciting. And our penultimate man absolutely at the height of his D: What composers do you admire concert was in Ann Arbor. I don't power. So I thought that made rather a most? remember very much about it, but I D: Where did you get your first job in know I was there. Well, you know on music? tours, you get a bit dizzy with where L: I can't tell you. I have no idea. I you're at. So I'm looking forward to just don't have the remotest idea what seeing if I remember anything. it was. . . I used to play a lot when I was D: Have you played to many college a boy. I don't know whether I got paid audiences before? or not. I don't suppose I did, but I might L: Well, don't forget I spent a lot of have gotten sometimes. I don't remem- years at Cambridge. ber a time when music wasn't actually D: Do you think college audiences are a way of life. any different from audiences in, say, a D: Have you ever played in any major major city? orchestras, or did you become a con- L: Yes, of course, because they're ductor before then? younger-they're more easily excited, L: No, I started conducting more of- more easily bored, I would have said. ten, so to speak - I've always done a '' D: What sorts of outside interests do bit, of course - when I was an un- you have, or is it all tied together with dergraduate at Cambridge. I started music? there and I was asked to take over the L: Oh, no, not necessarily. I mean the local orchestral society. That was in music is, of course, the main part of it. I about 1950, 30-some years ago. That read a lot, I go to the theatre a lot-the was really my first regular conducting theatre is a great passion of mine-I assignment. I conducted at the univer- r, love buildings, art collections, that sort sity a lot, we had a chamber orchestra ' 'Fof thing. I'm French, mostly. We live a at the University and I used to do that. gypsy sort of life, we don't see the It just grew from there. You know, it's