![]() ![]() ![]() I was a rabble rouser and making crazy pieces like “Lo-Fi.” And-but at the same time I still loved the great works, probably because I grew up playing in an orchestra and my most powerful experience with music was listening to recordings of, you know, Sibelius and Schubert and Beethoven and Bach. You know, I’d never really left my love for the classical music canon behind. Talk about the about driving around the landscape and that-do I remember from the reading of your book that that was in fact a major moment in your development?ĪDAMS: Yeah that was like Saul on the road to Damascus I think. And at about the same time, the San Francisco Symphony musical director Edo de Waart recognized your potential as an orchestral composer and with the result that was “Harmonium,” 1981. You were driving around the northern California landscape and listening to Wagner’s “Götterdämmerung” on the tape deck, I think it was, and that began to pull at you. He had begun to be identified as a minimalist composer, alongside figures like Steve Reich, Terry Riley, and Phillip Glass, but as you’ll hear from John himself, he never really left behind his love for the classical music canon. We had just finished talking about how his early works “Phrygian Gates” and “Shaker Loops” had been turning points in his career. ![]() We continue our conversation where we left off. Today, we’ll focus on his later compositions and venture into operas, including his upcoming work for the San Francisco Opera. In the first part of my conversation with composer John Adams, we talked about his childhood in New England, musical education, experiments in electronic music, move to California, and early works. ![]() I was so ignorant that I just didn’t know what I was doing and I did it.ĬUNO: In this episode, I speak with composer John Adams in the second half of a two-part conversation. It’s sort of like artistic version of beginner’s luck. And, you know, I come back to that piece about once every five years or so, and I just absolutely don’t know how I did it. JOHN ADAMS: I’m rehearsing Nixon and China here at the LA Philharmonic. Welcome to Art and Ideas, a podcast in which I speak to artists, conservators, authors, and scholars about their work. JIM CUNO: Hello, I’m Jim Cuno, president of the J. ![]()
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