In 2005, I was chairman of the BBC Symphony Orchestra when Pierre Boulez (Editorial, 28 March) conducted a special concert for his 80th birthday. The all-French programme included Debussy, some of his own works, and then Ravel’s Daphnis and Chloe – an especially big date on the calendar for me as principal cor anglais. Boulez had previously been chief conductor decades earlier, and many players remembered his precise approach with trepidation.
As we rehearsed Daphnis, his approach was indeed rhythmically precise, and some wind solo players felt a bit hurried. Boulez’s highly literal interpretation left little room for personal individuality, and, after a while, as chairman, I was dispatched in a break to basically ask him to slow down a bit.
Me: “Monsieur Boulez, my colleagues and I are wondering, could I please ask for a little more room for expression?” Boulez (looking at score): “Where does it say slow down … we have a tempo…?” Me: “In the solos perhaps we could stretch things a little?” Boulez (looking at me): “Mais c’est très important de respecter le score.” Then, after a moment’s pause, a smile, and a wink: “But it will be OK, you’ll see, you’ll have time, don’t worry.” The resulting concert was the best I’ve ever heard – or played.
As a synaesthete musician, I often wonder now if Boulez’s precise hearing might have been driven by some neurodiversity superpower. Whatever, the majesty of his interpretation and rhythmic logic of his tempi (with, as he promised, just enough room for a bit of choice expression) mean that I felt I’d never do this piece again with such integrity, and, in effect, prompted my move to Australia. This concert remains a career-highlight memory, also for the magnificence of all my BBC Symphony colleagues.
Celia Craig
Adelaide, Australia
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