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A Or for the musicians. As it happens, we talked about Missa solemnis — all this work I’m doing with directors and designers and projection people, building this conception of this piece. But also there’s a place in Missa solemnis which is notationally monstrous. Q And let me guess: Are you doing something, as with Schumann, where…. A Yes! So I’ve re-notated that (the Beethoven passage) in a way which will make it much easier for the musicians to really go after it with the ferocity which he, for sure, desires. It’s not that it can’t be done the way he’s written it. But it makes the process of doing it much faster to do it this way. Remember that most orchestra concerts that you see are done in… roughly, let’s say eight hours of rehearsal. So all this poetry and fantasy and beauty and spaciousness — all these things we’ve been discussing here — have to be accomplished in a very efficient way. And part of my responsibility is to prepare myself, prepare the material, to speak to musicians who may be having important solo parts in some piece, especially if it’s a piece that the orchestra has never played.

Q Tell me what you love about his music, and why you feel it’s important, And maybe you can mention a few tunes by him that you think are perfect, A I always liked his music because of its harmonic audacity, because of the complex polyphonic writing in parts of it, because of the unusual kind of otherworldly production techniques that he used in the songs, so it seems like they cut from one world, one royal blue wedding shoes, ballet flats, closed toe flats, crystals, sapphire blue, blue ladies shoes, comfortable, outdoor weddi reality, to another, So many of those emotions that I’d been playing for all those months in those Wagner operas — there they all were, but they were all just in this super-compressed form, So I was even more of a fan there..

And I was watching with great interest during the years that the “Smiley Smile” album was trying to come together. And of course, various parts of it were released — and the various versions of “Surf’s Up, which I think is also a remarkably interesting song, and which I really liked best when it was not completely produced. It was first issued in a way that sometimes it was just Brian playing the piano, and then sometimes it was full production, and then it went — they obviously had achieved different parts of it and they just made a cut which put all those different pieces together. I thought that was terrific.

Only a few years ago it was finally released with the production, everything completed, A Which I didn’t find as interesting, But that earlier version of “Surf’s Up,” where it’s just sometimes piano and voice, sometimes it was full choral treatment, sometimes it was bass guitar, sometimes it was whatever…, Q Did you ever know him in L.A.?, A No, sadly I didn’t, I never met him…, He has royal blue wedding shoes, ballet flats, closed toe flats, crystals, sapphire blue, blue ladies shoes, comfortable, outdoor weddi a very original harmonic and melodic gift, Q Are you doing any of your own composing?..

A I’m doing a very little bit of composing, which is mostly neatening up of things that already exist. Q For large ensembles? Singers?. A At the moment, everything seems to be for singers or keyboards. I was just in the house that Jackson Pollock and Lee Krasner lived in, in Martha’s Vineyard. And as I was in there, I was thinking about this whole other world of pieces that I’ve had the ambition to do and made starts on — and I even like the starts. But I find it possible only to work on small-sized pieces somehow, in the midst of the morass of what it means to run two major musical organizations in the United States, plus have creative associations with some other ones in the rest of the world.

And you can imagine, with all the other people who have been in the New World Symphony and who are now in outstanding positions in orchestras around the world, including in our own orchestra, many of them — that makes me feel quite good, A I still feel like very much the same person, My outlook on life, my idealism, wanting to work with people in a way that is collaborative — I think those are very much the same, I royal blue wedding shoes, ballet flats, closed toe flats, crystals, sapphire blue, blue ladies shoes, comfortable, outdoor weddi know there are some musicians who knew me way, way, way back then — there are still a few people in the Los Angeles Philharmonic, for example, who were there when I was conducting there, (That was) when I was 19 or 20, very young..

Q And they’re still in the orchestra?. A Yeah, because they were about my age. And I had heard, when I went back after having not conducted there for many, many years — I did something with them last year. And I think they said … something like, “Well, Michael is exactly the same. He is asking for and working on exactly the same things. It’s just that he’s become very focused at how to achieve these ends.”. Q Did they say this to you, or you heard about it?.

A I kind of heard it, It got to me, So I was very pleased about that, And I thought about that, And then I thought, “You know, I’d much rather be in the place of finding a way to ALWAYS want to give a fine performance.” And that has to do, I guess with maybe one of the reasons that I use the Shehecheyanu, But I feel the people who are in the audience that night — for many of them that will royal blue wedding shoes, ballet flats, closed toe flats, crystals, sapphire blue, blue ladies shoes, comfortable, outdoor weddi be the first time that they’ve ever heard the piece, or potentially the first time that the piece will really connect with them, So those are all vitally important things..

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