{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/5q4rj49623/manifest","type":"Manifest","label":{"en":["Bond, Victoria"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[],"provider":[{"id":"https://milken.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"homepage":[{"id":"https://milken.aviaryplatform.com/","type":"Text","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/111/974/small/Bond.jpg?1622114616","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974","type":"Canvas","label":{"en":["Media File 1 of 1 - B11753_MA_OH_Victoria_Bond_Master_2017_Logo.mp4"]},"duration":1640.448,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/111/974/small/Bond.jpg?1622114616","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/111/974/original/B11753_MA_OH_Victoria_Bond_Master_2017_Logo.mp4?1619780171","type":"Video","format":"video/mp4","duration":1640.448,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833","type":"AnnotationPage","label":{"en":["Bond-Victoria-09-13-2022 [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: Good morning.\u003cbr\u003e\u003cbr\u003eBOND: Good morning.\u003cbr\u003e\u003cbr\u003eLEVIN:Good morning, Victoria. \u003cbr\u003e\u003cbr\u003e BOND: Yes.\u003cbr\u003e\u003cbr\u003eLEVIN: You were at Juilliard, weren't you?\u003cbr\u003e\u003cbr\u003eBOND: Yes, that's right.\u003cbr\u003e\u003cbr\u003eLEVIN:That's right, in the '70s.\u003cbr\u003e\u003cbr\u003eBOND: Mhm, yes. I was there from 1972-1977.\u003cbr\u003e\u003cbr\u003eLEVIN: And you're a native of...?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=15.0,30.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I was actually born in Los Angeles, but my parents moved to New York when I was just an infant, and then moved back to Los Angeles when I was 16.  So I was sort of half-and-half.\u003cbr\u003e\u003cbr\u003eLEVIN:  And your instrument?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  Originally was the piano, and then, voice.  I was a singer.\u003cbr\u003e\u003cbr\u003eLEVIN:  And so, did you go to Juilliard knowing you were going to study composition, or…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=30.0,50.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Oh, yes.  No, composition was a constant, from the very beginning.  I always knew I wanted to be a composer.\tBut my parents, both being musicians, encouraged me to have a performing instrument, as well as being a composer.  For which I’m eternally grateful.  And my mother, being a pianist, the piano was my first instrument.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=50.0,69.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I discovered I had a voice when I was in my teens, and so, I really loved singing and studied singing, and that became more my direction.  My father was a singer.  Both a doctor by profession and a professional singer.  He sang at the New York City Opera.  So, I sang in the children’s chorus and had many opportunities to follow in his footsteps.\u003cbr\u003e\u003cbr\u003eLEVIN:  You came up through the ranks.\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  Who did you study, who was your main, your principal instructor in composition at Juilliard?\u003cbr\u003e\u003cbr\u003eBOND:  Roger Sessions.\u003cbr\u003e\u003cbr\u003eLEVIN:  That was the tail end of his…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=69.0,105.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Yes, indeed.  Yes.  I feel very privileged to have worked with him at that point, at that period.  He was elderly, but still very sharp, and made pithy remarks. He would look at the score for a long period of time without saying anything, and wipe his glasses on his tie, tap his pipe down.  And you think, well, he’s not going to say anything at all.  And then, he would come out with a remark like, “You know, a transition is like taking a, is like getting a transfer on the bus.  You have to know where you’re going.” And remarks like that stayed with my my entire life. It was so perfectly, the way he encapsulated the idea of a transition in music, having a clear idea of where you were going and put it in such a beautifully simple way.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=105.0,159.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Sessions was a student, principally, of Bloch.  Or, to a great extent, of Ernst Bloch.  Did he ever talk to you about Bloch?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=159.0,168.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  He didn’t, but Suzanne Bloch was a very close friend of mine.  And, as a matter of fact, she played lute at my wedding.  So, I got a lot of information and inspiration about her father through her, because she was constantly talking about him, referring to pieces of his, and giving us stories of her childhood and growing up in that amazing household.\u003cbr\u003e\u003cbr\u003eLEVIN:  You haven’t had contact with her recently?\u003cbr\u003e\u003cbr\u003eBOND:  Not recently, no.  I have not.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, she’s around.  But sort of disappeared.\u003cbr\u003e\u003cbr\u003eYou were also, when you were in Aspen, in those — how many years were you at Aspen?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=168.0,207.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I was in Aspen for three summers.\u003cbr\u003e\u003cbr\u003eLEVIN:  What?  ’75, ’76, ’77?\u003cbr\u003e\u003cbr\u003eBOND:  ’74, ‘5, and ‘6.\u003cbr\u003e\u003cbr\u003eLEVIN:  ‘4, ‘5, and ‘6.  Were you principally a composition student there, too, or were you conducting?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=207.0,223.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, actually, the first time I went to Aspen was as a singer, believe it or not.  I studied singing with Maria Schrader and Jennie Tourel.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yes.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=223.0,232.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e And at that point, I met Darius Milhaud.  Because his wife was coaching the opera department.  And he was such an amazing character.As a matter of fact, I remember him sitting in his wheelchair.  He used to like to come in and sit in on his wife’s sessions.  And at that time, I was drawing a great deal.  So I took out my sketchbook and I was drawing pictures of him.  And he, at one point, he said, “Let me see that.”I showed him my drawing and he said, \"Mh I look like a Jigalow.\" And he took my sketchpad and he made a little one line drawing of himself before he was in the wheelcahir and signed it. And that has been a very precious legacy as you can imagine. So, um, I was there as a singer for the first year and then in conducting.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=232.0,278.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e How much did you work with Jennie Tourel?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=278.0,280.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  The entire summer.  She was an amazing person to work with.  Of course, the French literature was her forte.  And she was a very inspiring teacher.\u003cbr\u003e\u003cbr\u003eLEVIN:  That was, that must have been her last summer there.\u003cbr\u003e\u003cbr\u003eBOND:  I think so.  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  ‘Cause she died the following year.\u003cbr\u003e\u003cbr\u003eBOND:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that was — you don’t, you don’t happen to have the eulogy, Bernstein’s eulogy for that?\u003cbr\u003e\u003cbr\u003eBOND:  No, I don’t.\u003cbr\u003e\u003cbr\u003eLEVIN:  It shouldn’t be that hard to get.  I mean, they published it in the New York Times.  But I keep forgetting about it.  It’s a very valuable thing for us to have.\u003cbr\u003e\u003cbr\u003eBOND:  Yes, indeed.\u003cbr\u003e\u003cbr\u003eLEVIN:  With, and Milhaud was one summer?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=280.0,313.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Yes.  Hmmm-mmm.  I worked with Milhaud, and I worked with various conductors — with Herbert Blomstedt, and I was Jimmy Conlon’s assistant at the opera department.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  That was, he was there, that’s where they did The Magic Flute that summer.\u003cbr\u003e\u003cbr\u003eBOND:  That’s right.  Exactly.  Mmm-hmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  It was just after his big Bohème success, I think.\u003cbr\u003e\u003cbr\u003eBOND:  Exactly right.\u003cbr\u003e\u003cbr\u003eLEVIN:  A few, a couple years after Juilliard.\u003cbr\u003e\u003cbr\u003eWhat about Judaic — I mean, not so much formal education and so forth, but, I mean, how do you, how did you come — at that time, you probably weren’t writing anything Judaically connected, were you?  Or were you?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=313.0,352.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Not particularly.  I would say it was always a very profound influence on my life, just because of the music that I heard growing up.  And my father sang in temple all the time.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=352.0,363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Various places.  He didn’t have one, only one temple that he sang in.  He sang in temple and he sang in church.  And my father, who had a rather dry wit, said, “From one God, I can’t make a living.”  So he would sing in many different denominations, and in church, as well as in temple.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=363.0,383.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he also, because he had a phenomenal memory, remembered a lot of folk songs that his father had taught him. My grandfather, his father, had played baritone horn in the Czar’s army in Russia.  He was born in Poltava.  And he was drafted into the army.  And of course, for young Jewish boys to be drafted into the army meant they were there until they died.  Which usually wasn’t too much longer.  So he left, of his own volition, and came to this country.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=383.0,411.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he had a wealth of Jewish folk music that he used to sing to my father.  And so, I got that, as a result of my father’s legacy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=411.0,422.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And my father spoke Yiddish rather fluently, so he and my grandmother — my mother’s mother — were always speaking Yiddish together.  And so, I picked up a little bit of it from there.  And then, you know, from the relatives, the manner of speaking, the expressions.\u003cbr\u003e\u003cbr\u003e\t\tThere were so many things.  It really goes far beyond any kind of conscious level that I could pinpoint.  It was just a whole ambiance.\u003cbr\u003e\u003cbr\u003eLEVIN:  Let’s go back for a moment to the synagogue choirs.  Did you ever sing in a synagogue choir?\u003cbr\u003e\u003cbr\u003eBOND:  No, I didn’t.  I didn’t.\u003cbr\u003e\u003cbr\u003eLEVIN:  Not even as a child?\u003cbr\u003e\u003cbr\u003eBOND:  No.  Mmm-mmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  How about exposure to — well, I mean, for example, cantorial?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=422.0,460.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I did hear my father sing as a cantor quite often.\u003cbr\u003e\u003cbr\u003eLEVIN:  But other?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=460.0,466.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e No.  Very little, until I got married.  And my husband and his family were much more observant than my family was.  So, at that point, I had a chance to hear a lot more.  And more consciously, as an adult.  We had a religious ceremony.  And so, I mean that, those moments made a very profound impression on me.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=466.0,488.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And as a matter of fact, one of the orchestral pieces that I’ve written rather recently uses a chant that was taken off a tape that my husband — a rabbi, a close friend of my husband’s, gave me.  It was so beautiful that I, I knew I had to use it, in some context.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s a new piece?\u003cbr\u003e\u003cbr\u003eBOND:  Fairly new, yeah.  Mmm-hmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  Which means what — two years?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=488.0,509.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, it’s been revised within the last two years.  It’s just come out on a Koch label, as a matter of fact.  It isn’t even in the stores yet, so…\u003cbr\u003e\u003cbr\u003eLEVIN:  And which piece is that?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=509.0,517.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  It’s called Black Light.  And it’s on a Koch label called The American Concerto.  The American Piano Concertos.\u003cbr\u003e\u003cbr\u003eLEVIN:  Is this the concerto about which we were talking with Sam Adler?\u003cbr\u003e\u003cbr\u003eBOND:  Yes, I think it was.  Mmm-hmmm.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=517.0,536.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are two pieces, actually, that Sam was referring to them.  One was the concerto, and the other was a solo violin piece called Weddings and Bar Mitzvahs.\u003cbr\u003e\u003cbr\u003eLEVIN:  Bar Mitzvahs, yeah.  But we’ll get back to that in a second.  But with the piano concerto…\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  …there’s one, it’s particularly one movement, then?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  It’s one movement, but the, the last movement.  The first movement has a, is inspired by Big Band music.  And the second movement is in complete contrast, has this chant.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=536.0,560.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the reason that I felt that these two musics worked well together was because the chant had the kind of wailing quality of the blues.  There, there was a great similarity, musically, as well as emotionally, in these two movements.  And the last movement combines the two. Now the whole piece is really in a Sonata Allegro form. The first movement being the first theme, the second movement being the second theme, and the third movement being the development section where they both combine.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=560.0,592.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e The chant — what you refer to as chant — that derives from what?  I mean, what, which chant?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=592.0,598.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I know nothing about this.  It was really rather mysterious.  I was given a tape with no label on it whatsoever.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who sings, who’s on the, I mean, what is on the tape?\u003cbr\u003e\u003cbr\u003eBOND:  I can sing you the melody, but I don’t…\u003cbr\u003e\u003cbr\u003eLEVIN:  No, but I mean, is it a particularly Hebrew chant?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  It is?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Oh, yes.  It’s a solo.\u003cbr\u003e\u003cbr\u003eLEVIN:  When you say “a chant,” I mean, what do you mean by a chant, as opposed to a song?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=598.0,619.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, it has the quality of a very ancient — almost like the Jewish equivalent of a Gregorian chant.\u003cbr\u003e\u003cbr\u003eLEVIN:  No mizora?\u003cbr\u003e\u003cbr\u003eBOND:  Don’t know.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, I mean, from what you hear in it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=619.0,634.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Oh, oh, it’s — no, it’s, it’s very free.  Yes, really not measured at all.  (Sings the melody)  It has a beautiful, evocative quality that was absolutely haunting. And I didn’t know a thing about it; couldn’t get, find my way back to the person who gave it to me, to get the background of it.  It was just, just…\u003cbr\u003e\u003cbr\u003eLEVIN:  So what was it?  Just a private tape?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  …just left there, hanging in the air.  But I knew I had to use it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And the language?\u003cbr\u003e\u003cbr\u003eBOND:  I don’t know.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, it’s not Hebrew?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=634.0,668.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  It probably is.  But it, all I remember is the melody.  I’m not as good at remembering words as I am notes.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  But I mean, you can’t — in other words, it’s not possible to pinpoint what, what it is?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=668.0,678.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  No.  I suppose, if I can find my way back to the source, at some point, I can do that.  But it, right now, I just have this vague memory of the person who gave it to me.  A very clear memory of the melody itself, but as far as the background of the, of the source…\u003cbr\u003e\u003cbr\u003eLEVIN:  And how do you know, I mean, on what do you base the idea that it’s a Hebrew chant?\u003cbr\u003e\u003cbr\u003eBOND:  Oh, he gave it to me with that.\u003cbr\u003e\u003cbr\u003eLEVIN:  I see.\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  With that clear understanding.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who’s the pianist on the…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=678.0,715.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Paul Barnes is the pianist on the recording.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, let’s talk about Weddings and Bar Mitzvahs.  This is solo violin.\u003cbr\u003e\u003cbr\u003eBOND:  Solo violin.  Right. And the piece is inspired by a folk song my father sang for me, which has rather amusing and anti feminist words which I don't think I can repeat them all in Yiddish but I certainly can repeat them in English and that's \"If a man has a little wife and he is displeased with her, he should swing her around his head like a chicken.\"","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=715.0,750.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e That’s not a bad idea.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=750.0,751.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I would not have set it, had I only had the words to deal with, but the melody itself is absolutely wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you know the reference — what that refers to?\u003cbr\u003e\u003cbr\u003eBOND:  Yeah, because that’s the way a chicken was killed.  Right?\u003cbr\u003e\u003cbr\u003eLEVIN:  No.\u003cbr\u003e\u003cbr\u003eBOND:  That’s the way its neck was broken.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, no.  That’s slogn af kapores.  It, before Yom Kippur.\u003cbr\u003e\u003cbr\u003eBOND:  Oh.\u003cbr\u003e\u003cbr\u003eLEVIN:  Only before Yom Kippur, to put all the sins on the, on the chicken, and sing, it’s called slogn af kapores, you see.  There are still some, I suppose, out in, in Williamsburg, or places like that, there are still people who do that.\u003cbr\u003e\u003cbr\u003eBOND:  Hmm-hmm.  I think we could call it wife abuse, at this point.\u003cbr\u003e\u003cbr\u003eLEVIN:  I’m not so sure.  It could be husband abuse, first.  But that’s another story.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=751.0,794.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e But the, the melody itself, and the reason that I wanted to set this particular melody is because, I think, weddings and bar mitzvahs, particularly weddings, can be a time of great ambiguity.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=794.0,806.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the entertainer in this is the violinist, who is there, first, because he’s playing a job.  This is the way he earns his living.  But then, as, as the ceremony progresses, he goes off into his own digressions, and he thinks about his own life and how this is relating to, to his life — or her life.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=806.0,828.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It doesn’t have to be a, a male violinist.  But that’s originally who I wrote it for.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who did you write it — a particular violinist?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  Yes.  The violinist on the, on the recording, though, is a Georgy Valchev, who is Bulgarian.  And not at all Jewish.  But the thing that really thrilled me about it was that the emotions and the qual, the nature of the music itself evidently translated into Bulgarian, because he knew exactly what to do, without really having to be explained or told anything about that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=828.0,859.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah.  I’ll tell you why.  I heard the piece.  It’s, it’s not exact, but there is a relationship to a doina, what’s called a doina.  Did you work with that at all?\u003cbr\u003e\u003cbr\u003eBOND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  Which is really Romanian.\u003cbr\u003e\u003cbr\u003eBOND:  Ah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=859.0,873.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But that’s probably what he’s — because it still has the whole Gypsy business there.  Which is, of course, the source for, for much of that.\u003cbr\u003e\u003cbr\u003eSo, would you say, in other words, this is really, in the correct sense of the term, a klezmer?\u003cbr\u003e\u003cbr\u003eBOND:  Well, kind of.  Yeah, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, a klezmor simply means, it only means one thing.\u003cbr\u003e\u003cbr\u003eBOND:  Yeah.  That’s an entertainer.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  It means, that’s a badkhn.  A klezmer is a musician.\u003cbr\u003e\u003cbr\u003eBOND:  Oh, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s all.\u003cbr\u003e\u003cbr\u003eBOND:  Definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s why it’s so silly to say “klezmer music” — it means “music-music.”\u003cbr\u003e\u003cbr\u003eBOND:  Oh, redundant.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=873.0,903.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But this one, this is exactly, that piece, it seems to me — I don’t know how, I mean, if this is what you feel in it, but it seems to me that it evokes a klezmor at a wedding.\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where…\u003cbr\u003e\u003cbr\u003eBOND:  Definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  …they couldn’t afford a whole band.\u003cbr\u003e\u003cbr\u003eBOND:  Right, exactly.  This, this guy had to fill in for everything.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, what about the material for that?  I mean, the musical material?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=903.0,926.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, because the, the melody itself is so open-ended — (sings it) — you know, it has a real folk quality to it.  And, and…\u003cbr\u003e\u003cbr\u003eLEVIN:  I don’t, I mean, it’s been about two years since I looked at that score.  But the tune you just sang — is, is that it?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Sing it for me again.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=926.0,950.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  (Sings)  And that’s where the Yiddish leaves me.  (Sings — Levin joins her)\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.  That, that is not the doina though.  But that — I must say I can’t remember that from two years ago, but if that’s what it is…\u003cbr\u003e\u003cbr\u003eBOND:  That’s it.\u003cbr\u003e\u003cbr\u003eLEVIN:  …that’s a very well-known and very authentic Yiddish folk song from the Russian-speaking sphere, from the Czarist empire.\u003cbr\u003e\u003cbr\u003eBOND:  Oh.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s a wonderful, it was one of the best songs, because you know, many of the things that we think are Yiddish folk songs aren’t.  But this is.\u003cbr\u003e\u003cbr\u003eBOND:  Hmmm.  Oh.  Well, I’m glad.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, I’m glad you — I don’t mean, it’s even better, knowing that….  And so then, what do you do from there?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=950.0,987.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e I do a set of variations on it.  And the variations go through the, the various changing moods that the violinist is feeling.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=987.0,994.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"First of all, just the, “Well, here I am.  I’ve got to entertain.  I’ve got to put on a good show,” to the very introspective, almost wistful, variation.  And then, finally, ending in a very fast, furious passage of great energy.\u003cbr\u003e\u003cbr\u003eLEVIN:  And virtuosity?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Absolutely.  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  You wrote it to be a virtuoso?\u003cbr\u003e\u003cbr\u003eBOND:  Absolutely.  Yes.  Right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=994.0,1020.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"‘Cause then, the violinist is really kind of strutting his stuff at the end, you know.  I mean, he wants a big tip.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, that’s, that’s a very…\u003cbr\u003e\u003cbr\u003eBOND:  He is, after all, an entertainer.\u003cbr\u003e\u003cbr\u003eLEVIN:  So it really is a theme and variations…\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  …on that, on that folk song.\u003cbr\u003e\u003cbr\u003eBOND:  Hmmm-mmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  Are there any other works that you’ve done of Judaic…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1020.0,1041.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Not specifically.  But, as I say, I would say that, because of my background, it has really infused just about everything I’ve written. I feel that I am musically very much a composite of everything that I have heard. That is kind of the undertone, the ground level, from which everything rises. And even though I haven't at this point specifically picked a lot of Jewish subjects, although that is something I would love to do more of in the future, as I learn more about it, it musically has infused everything I do.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1041.0,1076.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e What about choral music?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1076.0,1079.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Again, something in the future.  Because choral music is so very much a part of the Jewish tradition, that it’s something that — and as, particularly, as a singer — that I would like to do.  I’ve written a lot of choral music in conjunction with, with opera. I have an opera that I have written based on Gulliver's Travels, where I use a lot of choral music, but it is not specifically Jewish traditional","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1079.0,1108.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e No, Gulliver wouldn’t be.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1108.0,1109.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Well, it’s, the Gulliver story is set in modern times.  It, the idea is one of political satire, rather than giants and Lilliputians.  And Gull goes to familiar places, which are exaggerated.  Like, he goes to a, a, a health club called The Golden Calf, in which he meets a character by the name of Narsi, who he falls in love with.  And there is an impossible aerobics class. You know, all of these things that are a part of our everyday life that are exaggerated in the same way as Gulliver being in a land of giants.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1109.0,1147.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Who did the, who did the story?  Who did the libretto?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1147.0,1148.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Um, my librettist was Ann Getty, a woman who lives in Virginia.  And we wrote it when I was in Virginia as music director of the symphony and opera there.  And it was her idea to set it in contemporary times, for which I’m eternally grateful.\u003cbr\u003e\u003cbr\u003eLEVIN:  How long were you in Virginia?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1148.0,1168.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Nine years.  And I’m, I actually commuted back and forth from New York to Virginia.  My, my husband lives here.  And so it was a, a long-distance commute.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1168.0,1179.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, it could have been worse.  I could have been commuting to China, which is what I do now.\u003cbr\u003e\u003cbr\u003eLEVIN:  China?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  I have a position with the Wu-Han Symphony in China. And talk about a cultural relationship. It's very interesting. There's a lot of similarities to Chinese families and Jewish families I'm finding out. Many cultural similarities.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1179.0,1199.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Where is this symphony?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1199.0,1200.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  This is in Wu-Han, which is right on the Yangtze River.  It’s midway between Shanghai, Shanghai and Beijing.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  How often are you there?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  Well, I’m there at least once a year.  And now, I’m going to be going probably twice a year.\u003cbr\u003e\u003cbr\u003eLEVIN:  And how long do you spend there?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1200.0,1214.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I was there three weeks.  I just got back, about a month ago.\u003cbr\u003e\u003cbr\u003eLEVIN:  This is a, I suppose, I guess, an analogy to a professional orchestra?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1214.0,1226.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Oh, it’s a very professional.  It’s a city of eight million people, and the, all the orchestras there, all the major orchestras, are government-funded.  So, it’s one of the top ten orchestras in China.  So…\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, where do they get conservatory training?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1226.0,1242.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e There’s a conservatory in Wu-Han, a very fine one.\u003cbr\u003e\u003cbr\u003e\t\tAnd it’s very interesting — my first contact with China was in Shanghai.  And the Shanghai Conservatory, I was invited to go to the conservatory, and there’s a Star of David in the floor of the Shanghai Conservatory.  It was a Jewish home.  And of course, the…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1242.0,1262.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Well, sure.  Shanghai was a big Jewish community.\u003cbr\u003e\u003cbr\u003eBOND:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  A lot of people here in New York still who went.  But that, that was of course, basically a European city.  And we’ve interviewed people for this project — Joseph Mlotek, for example — during the war.  I mean, they sat out the war, because you could be in Shanghai without papers.  And if they didn’t have papers, and they escaped from Poland.  But until the, until the invasion.\u003cbr\u003e\u003cbr\u003eBut do you know, in that connection, Alexander Knapp?\u003cbr\u003e\u003cbr\u003eBOND:  No, I don’t.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1262.0,1297.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, you should get in touch with him.  He, he’s in England, and he’s the, he’s a professor — not a professor; but he’s an instructor — at the — well, it was City University of London; now it’s beginning, like, in two months, London University — in a Jewish music program.  And he goes to China, oh, at least once a year, for lectures on Jewish music.\u003cbr\u003e\u003cbr\u003eBOND:  Oh.  Hmmm-hmmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  And he found that — and I can’t remember whether — I don’t think this is Shanghai.  I think it’s in Peking.  He found, in the music library, right there, catalogued, Edelson’s book on the history of Jewish music.\u003cbr\u003e\u003cbr\u003eBOND:  Wow.\u003cbr\u003e\u003cbr\u003eLEVIN:  And he took pictures of it, and he brought it back to London, and so forth.  But you might…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1297.0,1347.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Well, interestingly, how that translates into the music is, that I’m sure there were a lot of Jewish professors in the Shanghai Conservatory, which is one of the oldest ones.  And so, the style of string playing has that Russian-Jewish quality to it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1347.0,1363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, as a matter of fact, I just, as a result of the concert that I did, I set three Chinese folk songs for, for this concert.  And one of them sounds very Jewish.  It’s got a melody that goes — (sings it).  Which doesn’t sound very Chinese to me.  But it’s a Chinese folk song, everybody knows it.  And it sounds more Russian-Jewish to me, than it does Chinese.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1363.0,1396.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, from, from Shanghai, of course there were — I mean, Misha Dichter was born in Shanghai.  You probably know that.\u003cbr\u003e\u003cbr\u003eBOND:  Hmmm-mmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  And did you know Ussachevsky?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Vladimir Ussachevsky.  Yes, I do.\u003cbr\u003e\u003cbr\u003eLEVIN:  Shanghai.  Are you thinking of doing any choral music?\u003cbr\u003e\u003cbr\u003eBOND:  Yes, indeed, I am.  Very much so.\u003cbr\u003e\u003cbr\u003eLEVIN:  What would you do?\u003cbr\u003e\u003cbr\u003eBOND:  I don’t know.  You know, that will depend on, on I guess, who asks for it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1396.0,1422.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Usually, usually, for the larger choral works, they’re a result of a commission, or somebody needing a particular work.  Particularly with an oratorio or an opera, or something like that, I really need a, a kind of a nest in which to, to create.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1422.0,1440.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because it’s very time-consuming, as you can imagine.  It takes many months, and sometimes more, to do something and really think about it.  And, and naturally, there are many expenses involved — the copying costs, and all of that.  And so, I like to work in collaboration with somebody who wants a particular work.\u003cbr\u003e\u003cbr\u003eLEVIN:  You want a commission.  Haydn said the same thing.  What was it?  I don’t remember which combination of instruments, the one combination he never wrote for in chamber music, and when he was asked why, he said, “Because nobody commissioned it.”\u003cbr\u003e\u003cbr\u003eBOND:  Uh-huh.\u003cbr\u003e\u003cbr\u003eLEVIN:  Just another question, back to the violin piece.  Because that’s a part of this archive.  Can you envision that as an encore piece, as a — I mean, how would you, in a real virtuoso sense…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1440.0,1489.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Yes.  I meant it as an encore piece.  And I also envision it, eventually, as the basis of a concerto.  Because I think the melody itself is so rich.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1489.0,1497.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And what, what usually happens with me and a motif or a theme is that it will sort of make itself manifest to me in some, maybe some small form.  And I’ll explore it in something like this, like a solo piece.  And then, as a result of working on that piece, I’ll say, mmm, gee, this could expand this way, and that could expand that way.  And so, it takes on another dimension.  And sometimes, that even takes on a further dimension. So I have certain themes that seem to go through my life and they usually start with just little embryonic, smaller works like this.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1497.0,1534.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e If there’s anything else you’d like to say…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1534.0,1539.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Well, I guess, one thing that I, I would like to put on the record is, one of the elements that I think is intrinsic in Jewish music and in a, and in, for me, a Jewish perspective on the world.  And that is that music is really in the highest service.  And what I would like my music to accomplish is bringing people to a higher level, is to a level where they think about God, where they think about the ultimate values in their lives.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1539.0,1575.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I find that, you know, particularly in today’s world, where so much is trivialized, and where people are so distracted from keeping their eye and their focus on their highest calling, that, being a musician, I feel, has a very great responsibility and a great privilege.  Because when people listen to music and they really focus with their whole being, that music can pull them in another direction.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1575.0,1604.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It’s done it for me, and that’s why I’m a musician.  Was, was hearing music and being brought to another level, was really what inspired me, more than any other single moment that I can think of.  And I hope to be able to pass on that legacy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1604.0,1619.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/39833/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think that’s why I’m, I feel very privileged to be Jewish and to be working in a tradition where I think that this is the ultimate goal.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1619.0,1640.448"}]},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104","type":"AnnotationPage","label":{"en":["Victoria Bond [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I was actually born in Los Angeles, but my parents moved to New York when I was just an infant, and then moved back to Los Angeles when I was 16.  So I was sort of half-and-half.\u003cbr\u003e\u003cbr\u003eLEVIN:  And your instrument?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  Originally was the piano, and then, voice.  I was a singer.\u003cbr\u003e\u003cbr\u003eLEVIN:  And so, did you go to Juilliard knowing you were going to study composition, or…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=30.0,50.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Oh, yes.  No, composition was a constant, from the very beginning.  I always knew I wanted to be a composer.\tBut my parents, both being musicians, encouraged me to have a performing instrument, as well as being a composer.  For which I’m eternally grateful.  And my mother, being a pianist, the piano was my first instrument.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=50.0,69.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I discovered I had a voice when I was in my teens, and so, I really loved singing and studied singing, and that became more my direction.  My father was a singer.  Both a doctor by profession and a professional singer.  He sang at the New York City Opera.  So, I sang in the children’s chorus and had many opportunities to follow in his footsteps.\u003cbr\u003e\u003cbr\u003eLEVIN:  You came up through the ranks.\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  Who did you study, who was your main, your principal instructor in composition at Juilliard?\u003cbr\u003e\u003cbr\u003eBOND:  Roger Sessions.\u003cbr\u003e\u003cbr\u003eLEVIN:  That was the tail end of his…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=69.0,105.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Yes, indeed.  Yes.  I feel very privileged to have worked with him at that point, at that period.  He was elderly, but still very sharp, and made pithy remarks. He would look at the score for a long period of time without saying anything, and wipe his glasses on his tie, tap his pipe down.  And you think, well, he’s not going to say anything at all.  And then, he would come out with a remark like, “You know, a transition is like taking a, is like getting a transfer on the bus.  You have to know where you’re going.” And remarks like that stayed with my my entire life. It was so perfectly, the way he encapsulated the idea of a transition in music, having a clear idea of where you were going and put it in such a beautifully simple way.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=105.0,159.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Sessions was a student, principally, of Bloch.  Or, to a great extent, of Ernst Bloch.  Did he ever talk to you about Bloch?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=159.0,168.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  He didn’t, but Suzanne Bloch was a very close friend of mine.  And, as a matter of fact, she played lute at my wedding.  So, I got a lot of information and inspiration about her father through her, because she was constantly talking about him, referring to pieces of his, and giving us stories of her childhood and growing up in that amazing household.\u003cbr\u003e\u003cbr\u003eLEVIN:  You haven’t had contact with her recently?\u003cbr\u003e\u003cbr\u003eBOND:  Not recently, no.  I have not.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, she’s around.  But sort of disappeared.\u003cbr\u003e\u003cbr\u003eYou were also, when you were in Aspen, in those — how many years were you at Aspen?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=168.0,207.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I was in Aspen for three summers.\u003cbr\u003e\u003cbr\u003eLEVIN:  What?  ’75, ’76, ’77?\u003cbr\u003e\u003cbr\u003eBOND:  ’74, ‘5, and ‘6.\u003cbr\u003e\u003cbr\u003eLEVIN:  ‘4, ‘5, and ‘6.  Were you principally a composition student there, too, or were you conducting?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=207.0,223.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, actually, the first time I went to Aspen was as a singer, believe it or not.  I studied singing with Maria Schrader and Jennie Tourel.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yes.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=223.0,232.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e And at that point, I met Darius Milhaud.  Because his wife was coaching the opera department.  And he was such an amazing character.As a matter of fact, I remember him sitting in his wheelchair.  He used to like to come in and sit in on his wife’s sessions.  And at that time, I was drawing a great deal.  So I took out my sketchbook and I was drawing pictures of him.  And he, at one point, he said, “Let me see that.”I showed him my drawing and he said, \"Mh I look like a Jigalow.\" And he took my sketchpad and he made a little one line drawing of himself before he was in the wheelcahir and signed it. And that has been a very precious legacy as you can imagine. So, um, I was there as a singer for the first year and then in conducting.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=232.0,278.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e How much did you work with Jennie Tourel?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=278.0,280.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  The entire summer.  She was an amazing person to work with.  Of course, the French literature was her forte.  And she was a very inspiring teacher.\u003cbr\u003e\u003cbr\u003eLEVIN:  That was, that must have been her last summer there.\u003cbr\u003e\u003cbr\u003eBOND:  I think so.  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  ‘Cause she died the following year.\u003cbr\u003e\u003cbr\u003eBOND:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that was — you don’t, you don’t happen to have the eulogy, Bernstein’s eulogy for that?\u003cbr\u003e\u003cbr\u003eBOND:  No, I don’t.\u003cbr\u003e\u003cbr\u003eLEVIN:  It shouldn’t be that hard to get.  I mean, they published it in the New York Times.  But I keep forgetting about it.  It’s a very valuable thing for us to have.\u003cbr\u003e\u003cbr\u003eBOND:  Yes, indeed.\u003cbr\u003e\u003cbr\u003eLEVIN:  With, and Milhaud was one summer?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=280.0,313.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Yes.  Hmmm-mmm.  I worked with Milhaud, and I worked with various conductors — with Herbert Blomstedt, and I was Jimmy Conlon’s assistant at the opera department.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  That was, he was there, that’s where they did The Magic Flute that summer.\u003cbr\u003e\u003cbr\u003eBOND:  That’s right.  Exactly.  Mmm-hmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  It was just after his big Bohème success, I think.\u003cbr\u003e\u003cbr\u003eBOND:  Exactly right.\u003cbr\u003e\u003cbr\u003eLEVIN:  A few, a couple years after Juilliard.\u003cbr\u003e\u003cbr\u003eWhat about Judaic — I mean, not so much formal education and so forth, but, I mean, how do you, how did you come — at that time, you probably weren’t writing anything Judaically connected, were you?  Or were you?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=313.0,352.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Not particularly.  I would say it was always a very profound influence on my life, just because of the music that I heard growing up.  And my father sang in temple all the time.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=352.0,363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Various places.  He didn’t have one, only one temple that he sang in.  He sang in temple and he sang in church.  And my father, who had a rather dry wit, said, “From one God, I can’t make a living.”  So he would sing in many different denominations, and in church, as well as in temple.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=363.0,383.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he also, because he had a phenomenal memory, remembered a lot of folk songs that his father had taught him. My grandfather, his father, had played baritone horn in the Czar’s army in Russia.  He was born in Poltava.  And he was drafted into the army.  And of course, for young Jewish boys to be drafted into the army meant they were there until they died.  Which usually wasn’t too much longer.  So he left, of his own volition, and came to this country.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=383.0,411.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he had a wealth of Jewish folk music that he used to sing to my father.  And so, I got that, as a result of my father’s legacy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=411.0,422.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And my father spoke Yiddish rather fluently, so he and my grandmother — my mother’s mother — were always speaking Yiddish together.  And so, I picked up a little bit of it from there.  And then, you know, from the relatives, the manner of speaking, the expressions.\u003cbr\u003e\u003cbr\u003e\t\tThere were so many things.  It really goes far beyond any kind of conscious level that I could pinpoint.  It was just a whole ambiance.\u003cbr\u003e\u003cbr\u003eLEVIN:  Let’s go back for a moment to the synagogue choirs.  Did you ever sing in a synagogue choir?\u003cbr\u003e\u003cbr\u003eBOND:  No, I didn’t.  I didn’t.\u003cbr\u003e\u003cbr\u003eLEVIN:  Not even as a child?\u003cbr\u003e\u003cbr\u003eBOND:  No.  Mmm-mmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  How about exposure to — well, I mean, for example, cantorial?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=422.0,460.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I did hear my father sing as a cantor quite often.\u003cbr\u003e\u003cbr\u003eLEVIN:  But other?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=460.0,466.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e No.  Very little, until I got married.  And my husband and his family were much more observant than my family was.  So, at that point, I had a chance to hear a lot more.  And more consciously, as an adult.  We had a religious ceremony.  And so, I mean that, those moments made a very profound impression on me.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=466.0,488.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And as a matter of fact, one of the orchestral pieces that I’ve written rather recently uses a chant that was taken off a tape that my husband — a rabbi, a close friend of my husband’s, gave me.  It was so beautiful that I, I knew I had to use it, in some context.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s a new piece?\u003cbr\u003e\u003cbr\u003eBOND:  Fairly new, yeah.  Mmm-hmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  Which means what — two years?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=488.0,509.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, it’s been revised within the last two years.  It’s just come out on a Koch label, as a matter of fact.  It isn’t even in the stores yet, so…\u003cbr\u003e\u003cbr\u003eLEVIN:  And which piece is that?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=509.0,517.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  It’s called Black Light.  And it’s on a Koch label called The American Concerto.  The American Piano Concertos.\u003cbr\u003e\u003cbr\u003eLEVIN:  Is this the concerto about which we were talking with Sam Adler?\u003cbr\u003e\u003cbr\u003eBOND:  Yes, I think it was.  Mmm-hmmm.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=517.0,536.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are two pieces, actually, that Sam was referring to them.  One was the concerto, and the other was a solo violin piece called Weddings and Bar Mitzvahs.\u003cbr\u003e\u003cbr\u003eLEVIN:  Bar Mitzvahs, yeah.  But we’ll get back to that in a second.  But with the piano concerto…\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  …there’s one, it’s particularly one movement, then?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  It’s one movement, but the, the last movement.  The first movement has a, is inspired by Big Band music.  And the second movement is in complete contrast, has this chant.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=536.0,560.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the reason that I felt that these two musics worked well together was because the chant had the kind of wailing quality of the blues.  There, there was a great similarity, musically, as well as emotionally, in these two movements.  And the last movement combines the two. Now the whole piece is really in a Sonata Allegro form. The first movement being the first theme, the second movement being the second theme, and the third movement being the development section where they both combine.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=560.0,592.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e The chant — what you refer to as chant — that derives from what?  I mean, what, which chant?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=592.0,598.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I know nothing about this.  It was really rather mysterious.  I was given a tape with no label on it whatsoever.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who sings, who’s on the, I mean, what is on the tape?\u003cbr\u003e\u003cbr\u003eBOND:  I can sing you the melody, but I don’t…\u003cbr\u003e\u003cbr\u003eLEVIN:  No, but I mean, is it a particularly Hebrew chant?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  It is?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Oh, yes.  It’s a solo.\u003cbr\u003e\u003cbr\u003eLEVIN:  When you say “a chant,” I mean, what do you mean by a chant, as opposed to a song?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=598.0,619.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, it has the quality of a very ancient — almost like the Jewish equivalent of a Gregorian chant.\u003cbr\u003e\u003cbr\u003eLEVIN:  No mizora?\u003cbr\u003e\u003cbr\u003eBOND:  Don’t know.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, I mean, from what you hear in it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=619.0,634.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Oh, oh, it’s — no, it’s, it’s very free.  Yes, really not measured at all.  (Sings the melody)  It has a beautiful, evocative quality that was absolutely haunting. And I didn’t know a thing about it; couldn’t get, find my way back to the person who gave it to me, to get the background of it.  It was just, just…\u003cbr\u003e\u003cbr\u003eLEVIN:  So what was it?  Just a private tape?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  …just left there, hanging in the air.  But I knew I had to use it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And the language?\u003cbr\u003e\u003cbr\u003eBOND:  I don’t know.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, it’s not Hebrew?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=634.0,668.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  It probably is.  But it, all I remember is the melody.  I’m not as good at remembering words as I am notes.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  But I mean, you can’t — in other words, it’s not possible to pinpoint what, what it is?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=668.0,678.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  No.  I suppose, if I can find my way back to the source, at some point, I can do that.  But it, right now, I just have this vague memory of the person who gave it to me.  A very clear memory of the melody itself, but as far as the background of the, of the source…\u003cbr\u003e\u003cbr\u003eLEVIN:  And how do you know, I mean, on what do you base the idea that it’s a Hebrew chant?\u003cbr\u003e\u003cbr\u003eBOND:  Oh, he gave it to me with that.\u003cbr\u003e\u003cbr\u003eLEVIN:  I see.\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  With that clear understanding.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who’s the pianist on the…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=678.0,715.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Paul Barnes is the pianist on the recording.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, let’s talk about Weddings and Bar Mitzvahs.  This is solo violin.\u003cbr\u003e\u003cbr\u003eBOND:  Solo violin.  Right. And the piece is inspired by a folk song my father sang for me, which has rather amusing and anti feminist words which I don't think I can repeat them all in Yiddish but I certainly can repeat them in English and that's \"If a man has a little wife and he is displeased with her, he should swing her around his head like a chicken.\"","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=715.0,750.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e That’s not a bad idea.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=750.0,751.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I would not have set it, had I only had the words to deal with, but the melody itself is absolutely wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you know the reference — what that refers to?\u003cbr\u003e\u003cbr\u003eBOND:  Yeah, because that’s the way a chicken was killed.  Right?\u003cbr\u003e\u003cbr\u003eLEVIN:  No.\u003cbr\u003e\u003cbr\u003eBOND:  That’s the way its neck was broken.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, no.  That’s slogn af kapores.  It, before Yom Kippur.\u003cbr\u003e\u003cbr\u003eBOND:  Oh.\u003cbr\u003e\u003cbr\u003eLEVIN:  Only before Yom Kippur, to put all the sins on the, on the chicken, and sing, it’s called slogn af kapores, you see.  There are still some, I suppose, out in, in Williamsburg, or places like that, there are still people who do that.\u003cbr\u003e\u003cbr\u003eBOND:  Hmm-hmm.  I think we could call it wife abuse, at this point.\u003cbr\u003e\u003cbr\u003eLEVIN:  I’m not so sure.  It could be husband abuse, first.  But that’s another story.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=751.0,794.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e But the, the melody itself, and the reason that I wanted to set this particular melody is because, I think, weddings and bar mitzvahs, particularly weddings, can be a time of great ambiguity.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=794.0,806.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the entertainer in this is the violinist, who is there, first, because he’s playing a job.  This is the way he earns his living.  But then, as, as the ceremony progresses, he goes off into his own digressions, and he thinks about his own life and how this is relating to, to his life — or her life.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=806.0,828.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It doesn’t have to be a, a male violinist.  But that’s originally who I wrote it for.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who did you write it — a particular violinist?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  Yes.  The violinist on the, on the recording, though, is a Georgy Valchev, who is Bulgarian.  And not at all Jewish.  But the thing that really thrilled me about it was that the emotions and the qual, the nature of the music itself evidently translated into Bulgarian, because he knew exactly what to do, without really having to be explained or told anything about that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=828.0,859.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah.  I’ll tell you why.  I heard the piece.  It’s, it’s not exact, but there is a relationship to a doina, what’s called a doina.  Did you work with that at all?\u003cbr\u003e\u003cbr\u003eBOND:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  Which is really Romanian.\u003cbr\u003e\u003cbr\u003eBOND:  Ah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=859.0,873.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But that’s probably what he’s — because it still has the whole Gypsy business there.  Which is, of course, the source for, for much of that.\u003cbr\u003e\u003cbr\u003eSo, would you say, in other words, this is really, in the correct sense of the term, a klezmer?\u003cbr\u003e\u003cbr\u003eBOND:  Well, kind of.  Yeah, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, a klezmor simply means, it only means one thing.\u003cbr\u003e\u003cbr\u003eBOND:  Yeah.  That’s an entertainer.\u003cbr\u003e\u003cbr\u003eLEVIN:  No.  It means, that’s a badkhn.  A klezmer is a musician.\u003cbr\u003e\u003cbr\u003eBOND:  Oh, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s all.\u003cbr\u003e\u003cbr\u003eBOND:  Definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s why it’s so silly to say “klezmer music” — it means “music-music.”\u003cbr\u003e\u003cbr\u003eBOND:  Oh, redundant.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=873.0,903.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But this one, this is exactly, that piece, it seems to me — I don’t know how, I mean, if this is what you feel in it, but it seems to me that it evokes a klezmer at a wedding.\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where…\u003cbr\u003e\u003cbr\u003eBOND:  Definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  …they couldn’t afford a whole band.\u003cbr\u003e\u003cbr\u003eBOND:  Right, exactly.  This, this guy had to fill in for everything.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, what about the material for that?  I mean, the musical material?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=903.0,926.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Well, because the, the melody itself is so open-ended — (sings it) — you know, it has a real folk quality to it.  And, and…\u003cbr\u003e\u003cbr\u003eLEVIN:  I don’t, I mean, it’s been about two years since I looked at that score.  But the tune you just sang — is, is that it?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Sing it for me again.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=926.0,950.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  (Sings)  And that’s where the Yiddish leaves me.  (Sings — Levin joins her)\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.  That, that is not the doyna dom.  But that — I must say I can’t remember that from two years ago, but if that’s what it is…\u003cbr\u003e\u003cbr\u003eBOND:  That’s it.\u003cbr\u003e\u003cbr\u003eLEVIN:  …that’s a very well-known and very authentic Yiddish folk song from the Russian-speaking sphere, from the Czarist empire.\u003cbr\u003e\u003cbr\u003eBOND:  Oh.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s a wonderful, it was one of the best songs, because you know, many of the things that we think are Yiddish folk songs aren’t.  But this is.\u003cbr\u003e\u003cbr\u003eBOND:  Hmmm.  Oh.  Well, I’m glad.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, I’m glad you — I don’t mean, it’s even better, knowing that….  And so then, what do you do from there?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=950.0,987.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e I do a set of variations on it.  And the variations go through the, the various changing moods that the violinist is feeling.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=987.0,994.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"First of all, just the, “Well, here I am.  I’ve got to entertain.  I’ve got to put on a good show,” to the very introspective, almost wistful, variation.  And then, finally, ending in a very fast, furious passage of great energy.\u003cbr\u003e\u003cbr\u003eLEVIN:  And virtuosity?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Absolutely.  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  You wrote it to be a virtuoso?\u003cbr\u003e\u003cbr\u003eBOND:  Absolutely.  Yes.  Right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=994.0,1020.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"‘Cause then, the violinist is really kind of strutting his stuff at the end, you know.  I mean, he wants a big tip.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, that’s, that’s a very…\u003cbr\u003e\u003cbr\u003eBOND:  He is, after all, an entertainer.\u003cbr\u003e\u003cbr\u003eLEVIN:  So it really is a theme and variations…\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  …on that, on that folk song.\u003cbr\u003e\u003cbr\u003eBOND:  Hmmm-mmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  Are there any other works that you’ve done of Judaic…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1020.0,1041.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Not specifically.  But, as I say, I would say that, because of my background, it has really infused just about everything I’ve written. I feel that I am musically very much a composite of everything that I have heard. That is kind of the undertone, the ground level, from which everything rises. And even though I haven't at this point picked a lot of Jewish subjects, although that is something I would love to do more of in the future, as I learn more about it, it musically has infused everything I do.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1041.0,1076.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e What about choral music?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1076.0,1079.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Again, something in the future.  Because choral music is so very much a part of the Jewish tradition, that it’s something that — and as, particularly, as a singer — that I would like to do.  I’ve written a lot of choral music in conjunction with, with opera. I have an opera that I have written based on Gulliver's Travels, where I use a lot of choral music, but it is not specifically Jewish traditional","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1079.0,1108.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e No, Gulliver wouldn’t be.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1108.0,1109.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Well, it’s, the Gulliver story is set in modern times.  It, the idea is one of political satire, rather than giants and Lilliputians.  And Gull goes to familiar places, which are exaggerated.  Like, he goes to a, a, a health club called The Golden Calf, in which he meets a character by the name of Narsi, who he falls in love with.  And there is an impossible aerobics class. You know, all of these things that are a part of our everyday life that are exaggerated in the same way as Gulliver being in a land of giants.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1109.0,1147.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Who did the, who did the story?  Who did the libretto?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1147.0,1148.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Um, my librettist was Ann Getty, a woman who lives in Virginia.  And we wrote it when I was in Virginia as music director of the symphony and opera there.  And it was her idea to set it in contemporary times, for which I’m eternally grateful.\u003cbr\u003e\u003cbr\u003eLEVIN:  How long were you in Virginia?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1148.0,1168.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Nine years.  And I’m, I actually commuted back and forth from New York to Virginia.  My, my husband lives here.  And so it was a, a long-distance commute.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1168.0,1179.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, it could have been worse.  I could have been commuting to China, which is what I do now.\u003cbr\u003e\u003cbr\u003eLEVIN:  China?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  I have a position with the Wu-Han Symphony in China. And talk about a cultural relationship. It's very interesting. There's a lot of similarities to Chinese families and Jewish families I'm finding out. Many cultural similarities. ","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1179.0,1199.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Where is this symphony?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1199.0,1200.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  This is in Wu-Han, which is right on the Yangtze River.  It’s midway between Shanghai, Shanghai and Beijing.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  How often are you there?\u003cbr\u003e\u003cbr\u003e\t\tBOND:  Well, I’m there at least once a year.  And now, I’m going to be going probably twice a year.\u003cbr\u003e\u003cbr\u003eLEVIN:  And how long do you spend there?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1200.0,1214.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  I was there three weeks.  I just got back, about a month ago.\u003cbr\u003e\u003cbr\u003eLEVIN:  This is a, I suppose, I guess, an analogy to a professional orchestra?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1214.0,1226.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"BOND:  Oh, it’s a very professional.  It’s a city of eight million people, and the, all the orchestras there, all the major orchestras, are government-funded.  So, it’s one of the top ten orchestras in China.  So…\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, where do they get conservatory training?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1226.0,1242.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e There’s a conservatory in Wu-Han, a very fine one.\u003cbr\u003e\u003cbr\u003e\t\tAnd it’s very interesting — my first contact with China was in Shanghai.  And the Shanghai Conservatory, I was invited to go to the conservatory, and there’s a Star of David in the floor of the Shanghai Conservatory.  It was a Jewish home.  And of course, the…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1242.0,1262.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Well, sure.  Shanghai was a big Jewish community.\u003cbr\u003e\u003cbr\u003eBOND:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  A lot of people here in New York still who went.  But that, that was of course, basically a European city.  And we’ve interviewed people for this project — Joseph Mlotek, for example — during the war.  I mean, they sat out the war, because you could be in Shanghai without papers.  And if they didn’t have papers, and they escaped from Poland.  But until the, until the invasion.\u003cbr\u003e\u003cbr\u003eBut do you know, in that connection, Alexander Knapp?\u003cbr\u003e\u003cbr\u003eBOND:  No, I don’t.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1262.0,1297.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, you should get in touch with him.  He, he’s in England, and he’s the, he’s a professor — not a professor; but he’s an instructor — at the — well, it was City University of London; now it’s beginning, like, in two months, London University — in a Jewish music program.  And he goes to China, oh, at least once a year, for lectures on Jewish music.\u003cbr\u003e\u003cbr\u003eBOND:  Oh.  Hmmm-hmmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  And he found that — and I can’t remember whether — I don’t think this is Shanghai.  I think it’s in Peking.  He found, in the music library, right there, catalogued, Edelson’s book on the history of Jewish music.\u003cbr\u003e\u003cbr\u003eBOND:  Wow.\u003cbr\u003e\u003cbr\u003eLEVIN:  And he took pictures of it, and he brought it back to London, and so forth.  But you might…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1297.0,1347.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Well, interestingly, how that translates into the music is, that I’m sure there were a lot of Jewish professors in the Shanghai Conservatory, which is one of the oldest ones.  And so, the style of string playing has that Russian-Jewish quality to it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1347.0,1363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, as a matter of fact, I just, as a result of the concert that I did, I set three Chinese folk songs for, for this concert.  And one of them sounds very Jewish.  It’s got a melody that goes — (sings it).  Which doesn’t sound very Chinese to me.  But it’s a Chinese folk song, everybody knows it.  And it sounds more Russian-Jewish to me, than it does Chinese.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1363.0,1396.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, from, from Shanghai, of course there were — I mean, Misha Dichter was born in Shanghai.  You probably know that.\u003cbr\u003e\u003cbr\u003eBOND:  Hmmm-mmm.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  And did you know Ussachevsky?\u003cbr\u003e\u003cbr\u003eBOND:  Yes.  Vladimir Ussachevsky.  Yes, I do.\u003cbr\u003e\u003cbr\u003eLEVIN:  Shanghai.  Are you thinking of doing any choral music?\u003cbr\u003e\u003cbr\u003eBOND:  Yes, indeed, I am.  Very much so.\u003cbr\u003e\u003cbr\u003eLEVIN:  What would you do?\u003cbr\u003e\u003cbr\u003eBOND:  I don’t know.  You know, that will depend on, on I guess, who asks for it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1396.0,1422.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Usually, usually, for the larger choral works, they’re a result of a commission, or somebody needing a particular work.  Particularly with an oratorio or an opera, or something like that, I really need a, a kind of a nest in which to, to create.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1422.0,1440.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because it’s very time-consuming, as you can imagine.  It takes many months, and sometimes more, to do something and really think about it.  And, and naturally, there are many expenses involved — the copying costs, and all of that.  And so, I like to work in collaboration with somebody who wants a particular work.\u003cbr\u003e\u003cbr\u003eLEVIN:  You want a commission.  Haydn said the same thing.  What was it?  I don’t remember which combination of instruments, the one combination he never wrote for in chamber music, and when he was asked why, he said, “Because nobody commissioned it.”\u003cbr\u003e\u003cbr\u003eBOND:  Uh-huh.\u003cbr\u003e\u003cbr\u003eLEVIN:  Just another question, back to the violin piece.  Because that’s a part of this archive.  Can you envision that as an encore piece, as a — I mean, how would you, in a real virtuoso sense…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1440.0,1489.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Yes.  I meant it as an encore piece.  And I also envision it, eventually, as the basis of a concerto.  Because I think the melody itself is so rich.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1489.0,1497.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And what, what usually happens with me and a motif or a theme is that it will sort of make itself manifest to me in some, maybe some small form.  And I’ll explore it in something like this, like a solo piece.  And then, as a result of working on that piece, I’ll say, mmm, gee, this could expand this way, and that could expand that way.  And so, it takes on another dimension.  And sometimes, that even takes on a further dimension. So I have certain themes that seem to go through my life and they usually start with just little embryonic, smaller works like this.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1497.0,1534.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e If there’s anything else you’d like to say…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1534.0,1539.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eBOND:\u003c/strong\u003e Well, I guess, one thing that I, I would like to put on the record is, one of the elements that I think is intrinsic in Jewish music and in a, and in, for me, a Jewish perspective on the world.  And that is that music is really in the highest service.  And what I would like my music to accomplish is bringing people to a higher level, is to a level where they think about God, where they think about the ultimate values in their lives.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1539.0,1575.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I find that, you know, particularly in today’s world, where so much is trivialized, and where people are so distracted from keeping their eye and their focus on their highest calling, that, being a musician, I feel, has a very great responsibility and a great privilege.  Because when people listen to music and they really focus with their whole being, that music can pull them in another direction.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1575.0,1604.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It’s done it for me, and that’s why I’m a musician.  Was, was hearing music and being brought to another level, was really what inspired me, more than any other single moment that I can think of.  And I hope to be able to pass on that legacy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1604.0,1619.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974/transcript/34104/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think that’s why I’m, I feel very privileged to be Jewish and to be working in a tradition where I think that this is the ultimate goal.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40309/file/111974#t=1619.0,1640.448"}]}]}]}