A conversation with...; Jean-Pierre Rampal

Conversation with John Pierre Ron Paul. This is another in a continuing series of programs each of which offers the listener a rare opportunity to hear an eminent musician informally discussing his own career and expressing his thoughts about a variety of topics related to the art of music. The regular participants in these discussions are Aaron Parsons professor of music theory at Northwestern University's School of Music and program annotator for the Chicago Symphony Orchestra. And George Stone program director for Zenith radio corporation's serious music station WEAA FM in Chicago. Mr. Parsons and Mr. Stone I have is their guest on today's program the widely traveled in the claimed flutist jumpier Ron Paul who is also noted for his musical scholarship. Now here is there and Parsons. Mr Rumpole glanced over the very long list of recordings you've made that your repertoire spans the entire range from Barlow to the twentieth century. It appears to be somewhat waited in the direction of the Baroque. In fact it looks as if you

might have been in the forefront of the revival in recent years about music. Do you actually have a preference for 18th century music. I have a preference for the 18th century music in order that this music is bringing the flute so. Well in front of the actual stage until the actual revival of the flute. Of course I must love it but this is quite quite evident it is a sort of duty if I didn't like it. Certainly not a flute player. You know if you don't like century music you can't really play the flute because it's really the golden age of the flute late in Century and when I say I speak about the 18th century I am including Mozart and Mozart as my God. I'm not out and about with you when you select 18th century composition. What do you do with it I know that you insist on going to

original manuscript. Yes yes it's always better but fortunately now there is a lot of very good additions especially in Germany I must say and they are just printing the original. Sometimes a little too much honesty. Well I mean that they lay at it. Evan the mistakes on the first printing that I don't agree so much you know but they are really very own nest with the first stayed with the text and also and then it's very easy and fun and I have been for people who doesn't want to go through the libraries you know because it takes a lot of time you have the choice between a few edition of the same work and with a you know that it's original printing printing. I prefer personal it to go. If you mean like to perform in editions of yes yes. Most of the time it's for international music company. That and never and never had it five other companies.

Would you mention some of the additions that you made well in including of course all the classic calls the boss and at the end and said I thought the Vivaldi sonata the muds up going Chatty did to some rare music like the I don't quite hit six Wow that's for flute and string and also a lot of Cooper and tele Monistat meets new and chatty by the teeny play. Lettings and Evan I've had it and yes I got out the food because it was missing and we did a good edition of these and I prepared to sedition and in contact with it was evacuated the valley. You know you mentioned some of your friends yes. Claire de Vienne recently you know them the French months out which is not so good then muds up but but really good music.

I'm curious about something because you made a statement a moment ago that we've heard from so many distinguished musicians Mozart is my God. Yeah. And I wonder if you would feel it is possible that Mozart actually felt about the flute the way some of his correspondence indicated that he did. Yes it's always a big question this question of Mossad doesn't lie that you didn't like the flute and I don't agree with this feeling. How little of it he have written such mindless music. Yes if I didn't like yes I think you know it must be. When he wrote this is that that this father you know you have you have to not forget that he was I know at a very moment very difficult moment under in this life. And it was a blast to write all this come on this is all the music commissioned works for this Mr. Rowan was a bad player like most of the people

who didn't play the flute as a matter you know. And this man was difficult when he was about to play a bad matter. He was difficult he didn't pay him you know many things that you know of course he was a little dis carraige you know first of all just start to compose the first concerto which is a beautiful piece. And when he send the work to Mr. Deja Mr. John look at the ad actually said this and that is not good for me. It's too long to defeat call to not good you know. Then he sent back the Concho he said I want to have another ad that you that Mozart wrote this beautiful small and C major and in the other tone corresponding The other key. And well all these things it was discouraging when he wrote that when I think that I have so much work to do and I have to work on pieces for this and I can't I can suffer you know I can support you know you know why and I think it was just a moment of humor

because the other things approved that he didn't dislike the flute he had very very close friend was Wendling and another people I don't remember the name in Munich. You had a lot of people love a lot of friends players and he proved with his music that he loved for just a moment you know. Do you have a personal preference in the matter of Mozart's music for flute. The larger works as opposed to the change in mind Mozart. Yes well not sure if I would have to chill. It's always a problem if you are allowed to go on the island you know the desert island on the passage alone and you bring some works you know that's a terrible question because then I should i should take with me Giovanni which for me is the score which has a more the most Mozart

feeling inside you know. It's from this sort of drama just cause you know as all inside the humanity the heart the darkness all the things all but for me that is the greatest because he's really a man you know it's not an NGO I hate this comparison. Mozart his financial aid was not an answer. Not at all. It wasn't that he mans that it was you know he was really perfectly and badly man you know human son you know just human. But yeah. I think Don Giovanni and maybe a lot of the quintet with Tyrion at the last piano concerto would be flat. Difficult to play well you know you perhaps put my question in Adelaide I was speaking more in reference to the works for flute either Westhoff do you prefer performing the concertos for example as opposed to the core yet. Yes I must say I

think I prefer the first one G major. For me it is really the best one of the G major. Don't you think that there is a tendency in the part of music lovers generally to attempt to de-humanize composers and musicians. For whom they have particular admiration. This business of putting them on pedestals as though they weren't really human. Yes sometimes I think it's kind of a 19th century practice of the 20th century biographer moved toward bringing about some of this human eye zation. Yeah I don't mind saying that heightened a little double dealing and the generous symphony Yes yeah yeah yeah. Yes it's Franco Yes I don't know why you speak about months out again you know wow what they did in the 19th century the beginning of the 20th century all the Biograph as much of that miserable job you know because

they said most guys and enjoy it if you love me i love you you know all this sort of thing. He was a sort of museum trop. He was a fighter. He wasn't a man who was against society. Again the novel people you know he was one of the first what we would call the put muddy you know in French you know in the malediction of Poland. But he went through that one thinks of the title which here we translate as the curse of Huntsman. Yes and could be the same I curse I curse to vote. Yeah but you know but we called them all and I think that's but the. This sort of fatality nobody is able to have a tool to catch something from real you know ever new smarter a mass you know. They destroyed it. You know what I mean you know it's wife can't stand it. Just when he

died a man came and took the mask to air mass you know it's a death mask. And she put on the place you know and a few hours after she she brought something and the mask fall down and he was broken. And instead to keep it you know one to two years as they say is a fraud you know that it's fantasy when Evan Bayh told his not so wise not so magnetic that you know there's the man edition was nothin but Mozart no scimitar and not Tom. Franco Yes. And the people then they brought the salt off of poetry or they said it could be only an NGO. No it was not and really was simply a man. And now the new Biograph is on mugs are they put the light on the real person.

Why not ready to censor those four letter type the letters they were sent writers why you know. Let's turn to your boyhood and your early training as a musician. At what age did you take an interest in music. Wow I think I would say that I was interested all the time. My music might have as a young boy but my father didn't like to put me on this field you know as a music as a musician what of your father that you didn't want you to pay him for this year. I didn't want you know I said all it's not. Maybe you can make something better out of that than myself you know at this moment there was not so many if you love in the same way of all the field you know just to be in an orchestra. And teaching other cancer then he thought it was better for me to make something that

he was a Fred when he was looking for my interest for the music. That would have been capture immediately but he was right. And yeah and then I start to my medical school that is but before you know I stopped reading to play music when I was 12. So I mean I sat with a flute before I was just mad about M. You know and so excited so ready to go you know have you know the big end of the flute and because I was so under the pressure and all of this. And. Like a barrel of being you know. Then when I stopped I stopped immediately I was really I had many. Very quick progress because I was waiting for this and you stood it with you and I said it was my father and I got my first prize and I must say it's not I when I was 14.

Yeah yeah yeah. And then I didn't see that anymore. But I did study almost I school college and university university and then and I went through my medical studies. But during this time I went to Paris for six months and I took my first prize either Pascals That's right. Ad just because it was during the war you know German occupation and it was not safe for me to stay in Moscow in my father was too well-known and Paris was a big US big city and it was better to I know you could hide in. Did you go to the conservatory because you were a medical story that no one turning to you know fall for. Show you the liberation. Then I went to the parish council after I took my first prize. When I came back to mass it was the

end of the war. Then I came back to the university for the medicals that is and then at the middle of the year I got an engagement with national in Paris to paycheck about one chapter and I said to my father I'm just going to Paris and come back and have a cup. I stayed in Paris and it stopped at this woman in 1940 six to six after the war. Yeah I take it that this performance was a very successful one in verse. Yes very very good success and I remember I played with manuals and thought and the world told me all you must stay you must give give give away for the automatic US was listen to all the rector of the conservatory You know I was there at other business you know. He later was direct now and now is teaching at that cancer cells are conducting. It's unusual to find an instrumentalist who like to question what natural qualities do you

think. If flutist must have. I think I think it's the first of the leaps you know those leaps you know the natural position you know that you're really not sure you have not it's like a violin. You know he has a fingers for all these he has a son right in the in the in the fingers you don't know why you know it's difficult to find you know some people that they have wonderful technique on the phone the fiddle and some people have a beautiful tone why it's the same with the flutes some people they are practicing like mad you know all their life and they can't get a good sound. And some people they start you know I knew a lot of young boys either they start and they just have a beautiful song. You had this I think it from the beginning I had the beginning you know it's maybe a sort of parody of my father. Beautiful sound. Beautiful I will say that much because of an on my bed

it was not for me it was an extraordinary all wonderful wonderful. It doesn't play anymore I played just for you know some recall the last then releases and this company you know sort of concept was for five flutes safer than my father is playing with us. All the new people you know and it's interesting because he was 73 when we did this recording and often go back and read it when I'm listening to this recording I can tell you that he was playing us have the score you know. Yeah the natural sound you know to what extent does dexterity of the fingers enter into this apparently with pianist for example. Yes very important and is one of the reasons why young start.

Yeah I think I will say that the piano maybe it's really the more difficult instrument you know the more they call and the same way the mall is the easiest. You know I mean that when you when you get 80 you can play you know I have to play the piano and it's well that's people like you know and but I don't think that you could find a violin have an advantage of a 70 you know. It's not so good. Some have done very badly because of this some something out of my mother's loss and I saw you know that the peach you know something but the pen is there God has them and they Alva 80 is a problem with. Yes it is and it's a problem. Like every instrument it's a big problem and I will say that maybe among the all the other instrument it may be the easiest one to to start you know. But if you want to play very

well it's difficult. It's a quality if you will for every instrument even the trombone. It's very difficult to to be a first class by pharma but that that father be that. It's very easy to get to get a good result after a few weeks after you get not so bad results. It's it's possible to listen to a being on the floor. It is not possible to listen to the beginning of the fiddle. It's dangerous for you. Yes you know I thought the Ford Focus is not so bad. It is a reason it was so popular in the 18th century. Easy to carry no problem with the reads. He's a father fingering at the beginning. Then the composer they wrote so many music was not too difficult to play. It was a reason it was so popular. Even the King of course never did safely. Yes a play. Yeah yeah. I'm curious about your early training as to

how you suggest along with your medical studies that you studied only the flute conservatory. If you didn't do a typical music student while I had that idea just how special this is all of the other areas of study that you do. As you know when we have mad about some guys you know. I think in this country we need to get a little mad about it. I think so I think so but in France we all evolved to matter. Well it's I think it's good you know for reading for fast reading for father here you know it's good. Of course I did it very shortly but you do this in my stay I didn't Ma said in Paris. Yes six months yes. Did you in other musical studies history you know a story story story a story.

What I was always interested by the story of the music you know I didn't practice specially You know I didn't study especially this theory not so much. I was never interesting to be a composer and I didn't push myself too much in this field. And the reason I'm asking this I have another question too. It's interesting to me that in making your editions of all of these houses that you take the attitude the Newscycle scholar I use ecologists. You insist on going to the next. Well I just I said it is for my pleasure by studying this very white. And. Bush Bref on this film. Yes yes and I like also Also Evan now you know to read text on imitation and especially in the middle for the fastest route.

Yes I am very proud and very lucky to have an original text in French 1752 in the French original printing. And I was very lucky to find one in a very good condition. And I must say that it's a marvel to read Evony with all French flavor. And really what if you read this completely at that tarnished by the way. There were there were doing music in this time. Some people all they're trying now to put Evan on the recalled market what they call a very exact performance of the time. They can't because it would be terrible. If you read if you read the book of quants really attentively you noted that they were never playing on the reel that most other musicians didn't play in time and that never happen because all the time and every page one say's it's better to

keep the same rhythm to the same to keep the same temple all the time if you can make it. Please make it. That didn't mean that all white everyday people very few people were at all to to go through a concerto without changing a temple. Slow down for the people the difficulty I said it was a slow down going rushing when it was easy and so on. There would be very disappointed qualms they not only played out of two alt. offshoot of COS and and also the people we are speaking all the time. Public. You can imagine a performance of a mug's out of para was about the people there standing in the orchestra standing you know not chasin us. Not another form of the public you know what we call the question oh you know the lobby of the mezzanine and they were discussing their why eating drinking making

noise you know speaking with Evan with the people in the law yeah. And when they were trying in the area the most of the time they were not listening and they were just listening for the single PLOS and sometimes will discussing again if it was a mess. And when you're saying that this fall most are poor poor poor people at this time and then never had the chance to listen to the score completely. Yes don't suck on that dreadful thinking of once again and instruction on the flute. Do you teach flute. While I am not what you call a real teacher of the flute you know how beginners we know that never have families. But if I if I had to do I will ascend jester I'll test middle for me the only one is like a bible of the flute players you know. What is that. This

test missiles. Unfortunately now it's very expensive it's the reprinted in France and it's quite expensive and the people they are lethal are stopped by the price a little especially especially in this country but it's a marvel you can stop reading A L T S. This is published by a kitten in France and I read it it's a marvel because you can start immediately and it's always in duet you know with the second book and when you have finished the myth of you know complicated thing. If you have a good teacher follows you perfectly well and was very strong I must be very strong the teacher not allow you to go to other lesson before the first one is completely unknown. But I stop with the East and the N. program the

people on the they know this is name of my Father are you also all these people they start with. That's part of it and nothing else except sign that I was you know to have but read the book complete until the end. For me it's the best one. Flute players must approach you to ask for coaching in. Yes well this is why I like you. And you know I do this a lot of every nice in the master class. It's a national international master class faulty instrument that is held in nice nice yes as a very good teacher there called on his teaching for the violin there at the same academy and I did so in office while coaching staff on an entire coaching winsomeness prayer. I did in a long time ago and in Basle last year I like it.

I feel that the best way to teach be in a master class I mean the complete class with everybody. I don't lie so much the private lesson. Private lesson that and never agree so much was necessary sometimes that it's much better to teach a people in front of the other people you know because there is much more communication reaction between the people there. They call them sad they inspire each other you know. Furthermore you reach more people in the limited amount of them and it's really an inspiring for every people on the fact must be that it must be a complete To friendship. All around the class you know no jealousy nothing that it is the first thing I ask the people. Don't be jealous. Always be involved with the other people. Then it gives a good reason if you are jealous you must leave the class.

No one my class you know sort of like the cardinal rule for only chamber music. It's true it's truly a mess b f A When the people are playing well you know and very sad when they don't play well you know the country sometimes you know you're involved. You're listening to a conversation with Ron Paul with there and parsons and George St. Paul's 10 seconds for a station identification. Now resuming the conversation with Mr. Ron Paul here is George St.. When you went to Paris in 1946 and suggested don't go back. Stay here. What did you do then.

Well I did a lot of calling for a broadcast at this moment. And and then I started my first tour in Germany after the war. And and then after this to start in Switzerland and then you know anytime a friend and I were these concert performances or recital recitals Yes this has a some with orchestra but it starts solid but not so bad and I start to regard to may my first break in 1946 where the mud's are D major. Qualität with the three of us. It was my first recording 1946. It's not that able. Yeah I was there you know it was a 78. This is you have got me as leader of a company must be a prized possession because this started a chain

reaction that probably. It will never stop. I don't imagine there is any instrumentalist in the world who has recorded as much as you have. I didn't say I did a lot just I don't remember but that's available here. Yes I think some trade days and lost its untap and I think really all of a devil. I'm sure that this first recording must be of enabling Japanese and a new tape I'm sure quite well that's interesting because on your previous visit to Chicago when you were visiting the studios to prepare some of the materials for that musician of the Month series I got the impression that you have an a special place in your heart for it so just so your experience is there when you have been most rewarding. I like this country to America today. Do you find the audiences differ a great deal from one country to

another. Not so much now than before. Because the public has a tendency to be a little more universal you know international you know international reactions like we will not anymore what we call the American school the French school the Italian school a German school. Not not anymore not so much you know when you are going traveling all over the world. You are listening to our guests while you are listening to the playing of the school of thought. We are speaking off of playing. You have not so much different than before. When I when I started my career I remember when you when Germany playing really German you know German style and you need tallied Italian style special you know. And in French it was really special. Now I know it's very difficult to say it's

French. You know the television and the movie the record all the thing. It's bringing the broadcaster lines the circulator and you know it's just a lot of musicians to lead the same way for the for the actions of a speaking with some friends recently about the acts and the different acts and in a country in France for example. My my father told me all the time that when he came first in Paris he was coming from Marseilles and he didn't stand very well at the back the first the first day the way that we're speaking and they didn't understand him very well and he was afraid to open his mouth you know because he said they didn't understand me. Now all the acts are not Nivelle you know that because of the TV because of the movies you know because the broadcast you have an evaluation of all their actions. It's the same for school. Sure. Well at one time it was quite a thing in this

country I remember very well to cite the differences between French orchestras and American orchestras. Probably at that time was a very valid point because they were characteristic sound to the winds for example the Boston the Boston up as far as really sounding French a long time ago I don't think Dolly's something more French than that if you know that she can tell us about. Chicago has always been considered a German sounding orchestra at least through the days of stuck along the truth. No it isn't but throughout and I must say that is really. Evan the Evan the bell another for that one it doesn't sound so it doesn't sound German. The ballad nominee to get back to Japan. You went there the first time when 1964 you said I was five times and when I was two. Twice in a yeah i room then and it will be

yes five times in four years touching again on the point about audiences. What is it about the atmosphere for music in Japan that particularly appeals to you that has struck this respondent chord in you. It's different you know. They have are a shy people. Then at the beginning when you sing that yeah that little shy to have clothes you know but then when when they find you know that you are you know like to be up all that and then and you like to play for them you know fall off I think I'm cause then they can't stop the cats you know. But at the beginning there you know they have a shy they think we will disturb if you will we will be tiring you know if we ask more. They don't they don't want to disturb you. They are very polite but that they fill up the holes in all the Sri Sri thousand people all the time. You can give. I remember a week I give

five concert in the week the same weekend at once. Welcome to TALK OF US of all 4 5 5 recital and took up the longest recital to this fabulous Well you can find find this sort of attraction how extensive travel over Japan North and South. Yes you can play everywhere I've been in a small city I was resolved at all in the north Hokkaido. Oh yes when it happened. A pub locust laboratory sat on model a time sometimes with office they have no Fantastico caucus at the north and the south. You know his outgoing orchestra struck you plenty. You travel as a soloist but when you play recitals you must have an accompanist. Yes most of the time I'm with you on a quad. It was not what I would call in a combination of ways of Patna and.

FISON But in this country I have never come without him you know except when unless another man was playing music concert with office. But Japanese never come with me except as a member of the Baloch ourselves. Barry's brother house always accompanies a local. Your own luck plays both on and on and you build your programs then yes it's what we love. But you're going to have a first bout with UPS a cog in a classic all of classical Sonata with the piano and then modern romantic little ranting and moan and work with piano that's what we love you know. But we have many recitals with piano. You know only ups the whole barrel. We have all and all program mixed and UN and dark and

wisdom and. And well also programmers piano piano playing and there was a piano it's a pity we don't have an obstacle for the first spot with us to play baronetcy and. It's obscene. Would you do with what you would you mind describing speaking about some of the music from the 20th century that you play. You know you know starting with let's say that you see the ceiling you see that and yes I mean forward to see is a for me as a model you know it sounds all of like all the the best you know in just one line. He said just so many colors in this species van and se. Unfortunately we have no other piece of I do see except that beautiful soul at that.

And then well I'm not so fortunate you know with mother and contemporary music. We have Prakash Yes the beautiful. And I think the major meet Martina. I love the beach. Back on chattel which is a fantastic ranch of who'd recently had I did a transcription of the catch that I have not yet of adding other suggestion of the composer I did it and I asked yeah I didn't make a recording already but it's a preview for the future. Beautiful. What about newer techniques in food play and have you been involved in this drama. Yes but not so much you know by the new technique the most. No you know it's the rattles of you know the sound of tremolo is that now that you know families that look down which is not so nice in fact it's not

nice. I think the abused and to match of the process or period every piece has you know all these silly sounds in us not so good. And then recently they tried to put some double double. No other. Which is really impossible. It's necessary to explain that physically speaking is speaking it's quite impossible. But if you play don't you know. You know every tone is made by you are moneys and if you try very hard to get to sit by the Armani sometime you can get to the same time the same all at one moment one moment you done choose yourself. You know but it comes just as a chance you know. Then you can get the fizz a basis with some money but not very long way for the microphone

is good but for performance and and I must say that to get these two tones you must leave the quality of the initial tone I mean that if you get to know us you will get to bad Noach without the brothel and I am against this sort of you know. The oboe for example has been doing this sort of thing but it's not it was as I've been writing. Yeah you know you play first you or you lose the quality of the notes and they don't sometimes you are obliged to sing you know inside when you blow and you sing a little and it's just sort of fun you know it's like a clown you know. I don't thing it's not as I would like to have the possibility to play double notes like a valid player but with the quality and you know to get to get this double notes you must miss the quality and then I don't agree with this you know

this is a simulation of a show you know just because you are in fact you can you produce one with your breath and sing the other is yes and you know say all this for example the first one did it I think it was a very in a country on a fall on you know fall and there is a cadence are ways that is three notes. Then you must play the no defer no note get the almanac and sing the other you know it's just a question often you know it's possible to do that. Is I don't think it's so musical you know. Why I have a question and it's difficult to get immediately if you want to get me immediately you have to study certain certain fingerings and it's really ugly. I have a book written by of course an Italian people because they are very very excited about this sort of sounds you know and I bought this book with an example on the record you know when you read the book it's wonderful to

read a lot of things fantastic What possibility you can make it sound on the same when you put the wake up on a machine and you you hear a so ugly music so terrible play music you know it is impossible to describe you know what they need. They did that people when they they out of a wind quintet it sounded like an orchestra complete organ that was so bad you know so that you know that I can't support. It's really for me it's not the music anymore. Just joke joke. I agreed to a joke you know must have in every every part of your life and music why not. But seriously you know I'm against this. I think it almost 25 years now since 1946 since his first tour in Germany even after the war. You've been involved in concert giving every year in year out. Yeah that is the story of your life. Yes.

Well from all to all from Alltel taught me what I learned I lived that life every year. Yes almost seven eight months a year. How many times have you been in United States I think it's my 11th store. We call the first one 1957 I gave the first performance of the Poulenc Sonata. In the Library of Congress in Washington and the Senate I was commissioned by the Library of Congress to pull and pulling one thought very much to the right for me then he said I have a commission for China music and I write that awful and we're going to play together to get the first performance in Washington. I said OK well I have I had a tour in Mexico and then in Canada and there was a cut of five days between us said this date will be perfect. OK it will ravage it. And

finally he said I'm a little tired to come to the stage just to ask about you in the front so that it's a little seedy. What about the concert complete concert with you with the owner. And I said yes really. Why not. And we were touring together I was going to then instead to play only the pool I thought I would do the complete program. It was very successful and we got a lot of wonderful reviews the day after especially Paul you know and with this review we got a complete book tour in the DFA in the States. And since this moment I think I was quite every every year. Sometimes the sometimes the thing that I remember particularly from my previous talk with you and I've thought about a number of times since you mentioned the the year before you had played one

hundred and eighty concerts and one doesn't have to be much of a mathematician to figure out that that's one every hour. Yes it's interesting isn't it all rather well if you talk to that. And what I hope the next had to have been in 50 to 1 5 1 5 0 0 0 that's not much of a cutback is the outset he gets at it a lot lately I love you enough. I recall having seen an article over a few years ago when you had only you know 40 or 50 recordings of it with you and the reviewer. One of the new ones referred to you as the ubiquitous flute. I yes I remember that from music. Yeah yeah yeah and I think it fits. I fit it in. When you play so often how do you sense routine.

Well I think that you could be a routine performer if you play always the same work in always the same hall. But if you change every day you can't be a routine performer. Evan if you play the same way because it doesn't sound sound the same you change the piano you change all you change people the faces you know and you must be inspired or not you know but sometimes you are not inspired. You know but when you are inspired It's different for Sheff play it. Doesn't happen often that you are completely and uninspired fortunate but it could happen. I do want to see them when they've done you know this is what I was going to ask you. It's terrible they don't know that people are much they they are the pot. They are part of a good concert. Is precisely what I want to know to what extent an audience influences the performance by its recent today by its

courtesy by its warm through. It's true it's a really for me at least 50 bucks on the plane at least. If you have a bad reception if you have at the beginning you know the people I was talking with about this you know well talking about experience and for example I will not make the situation of the country and the city that he was telling me about the city in Europe you know came. Nobody ate him. It had happened. Then he's going to the US to go to try the piano. They try to call that piano sacking you know nobody at home and ever every time like this you know. Then they played that I was going to go OK. They gave them the fee and all the money they signed and

said no nobody came you know. Then the year after they ask him again he refuse to come as I'm going to say no I'm not the work of a man or a walker you know I want to be an artist if I have no reception and no no no reception what I mean not the reception after conceptional that is different you know social reception. We don't like so much most of the night but the reception the oneness you know of the people you must feel at least somebody is coming in during the end and he says he says well it's wonderful source of joy you know you must be encouraged you know and if the public is like these like in some countries you know I will not mention too because it's always seems to be unfair with the people but it's sure some country they don't close. I wonder how. How performer feels following a performance which has gone well and to which the audience has given attention. Polite

attention without fidgeting without noise making and so on. But the minute the last note is sounded and when the thunderous applause comes rolling down from the gallery everyone in the orchestra jumps up and heads for the exits. Is this a let down that has not. Yes yes yes. What happened. Fortunately all of us on the way to meet with you have a moment to frequently Yes there they are and that it took to get that first Metro subway all that all the bus all that carbon tax at it happens its a pretty you know lets go I think is a manifestation of the humanity of musicians we. We can't overlook the fact that having done this yet and yet done it well that they have it back yes they want to know that it was love. Yes yes. So I'd like to turn to Ron Paul's activities

in chamber music because I believe the two chamber groups. Yes unfortunately in my life now that made me give me the opportunity to play many of my music. Like I was used to do with the French when going by but I love to play chummy and I think that every musician you can ask to every musician every about you know a big great bit of the piano they love to play chum and we miss it you know in our life some time when when we are booked far just so happy and lucky we settle. We miss it will miss German music and sometimes if we have no chance to do it. You know contract in our contract we try to our ranch and to do in private. Sometimes I've been away.

Well just needs some some people some professional people and music. It's a joy. I do you perform the French would win so I'm going to be a causal but not some nice maybe. 21:30 a moment ago you mentioned Isaac Stern. Yeah. You and he have collaborated. Yes a long time ago we did the first we had a first come to that between us was a concert in the month office to about I think about at least. And then again five years ago. In the mantle as well and the last game in London pretty much for the time of whether they had a big shot together that we played that with a charm or played that the W Valley can shut off the two violins. I was playing

offense Manny and then he played the Mozart G-Major I was conducting and he come back for me after the intermission from the G-Major concerto. And then we we ended with with Chad about the valley and I was playing one of the body parts and we had so often with this that we are repeating again and you will learn you. Yes friends friends you know when fans in Paris and in the country and Provence and spend you know a good time for two weeks and what I call a couple of cuts at the beginning of all the. If you're going to Vegas in that it's like you mention conducting. Not real but every year about three or four concert where you were have you done this while in Paris. I did it in Paris I did a nice ride in in France in a special day

and night in Stratford too you know. And Japanese and talk you know I have a concert. Big money. Mozart Mozart. Especially months off and I didn't either. Bow line question back are you going to get into a concert that is to say yes yes yes yes. I did a few years ago I did that concert with 270 Mozart symphony and Leeds you know and between the doubled months happened to turn off a bit of a problem. Do you anticipate becoming more involved with conducting or is this merely I love to match play not only last but even back to 100 that are

viruses you know it's a virus. Oh no. Very exciting very exciting. I understand I understand the pleasure a great conductor. And Stan Ramage subject of conductors and another from the viewers will be next week. Yes he composed something for you the composer the sort of Tina flute but I didn't play I never played this and I think unfortunately I don't know you know that this woman on the end says we should be these pianists and not be all that Chua and this will be necessary to study with this call and I I wanted to have a Marx you know. I refuse and well you know. And finally I didn't play this. And I would like to play very much to play with me at the piano and the pianist but he refused because he told me that now it is not

pianist as too many have to do with composing and they need about one yet again on the piano to the little enter. Then when we stop in this position when this position now. And finally I would like to make a recording to the recording of this on a tape which is beautiful. It is this kind of post that. No no it's really it's readable as you know bless these bulls you know and say what with the other composers of the same school you know they are all the same for me and you know it's my position about this piano. We discuss a lot of what I love in this poison found in the level of the stick to your beauty. The octo

mom who is fabulous with what I love in these other Sanath enough. It really is and it as a feeling it as a sensibility which apparently. Lack with well many other works this company is for this reason and I'm not very attracted by this new music you know. Because they are not inspired. If they are inspired I agree. You know for people like no no like Barry or like you know these people that they have something to to to to say. Then I agree. If it's just only the school and just some only a way to write I don't agree and I know it because they said this is very dry you know. And I would say that they use more rules in this writing of the music than ever and in the usual way to write music. Finally you know I mean it's

very dry. You know they're out there like this they are like in jail. Well the rule is you know yes. Then I want to have the music. And if there is a music OK. And again to speak about the blueness and I do you know if I have time because because it's a very difficult and that's to be worked seriously with people and especially with a book as I would like to go with this and you know if I have time I will like to make it and I'm sure one of these days we'll be hearing oh if only because you soon will have exhausted the repertoire. Well the flute didn't even of Taylor Momsen these all day. MR It has been most gracious of you to join us for this conversation. We look forward to it as often if you go back to Chicago. Thank you very life and this has been a conversation with Pierre Ron Paul Simon and flutist noted for his musical scholarship

participating where Aaron Parsons professor of music theory at Northwestern University's School of Music and program annotator for the Chicago Symphony Orchestra and George Stone program director of Zenith radio corporation's radio station WEF em. This is the national educational radio network.