{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/d79571886x/manifest","type":"Manifest","label":{"en":["Foss, Lukas"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["\u003cp\u003eFoss, Lukas. 1998. Interview by Neil Levin. Milken Archive Oral History Project. 23 October.\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Milken Family Foundation"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003e© Milken Family Foundation. Unauthorized use is prohibited. For inquiries, please contact info@milkenarchive.org.\u003c/p\u003e"]}},{"label":{"en":["Agent"]},"value":{"en":["Foss, Lukas (Composer)","Levin, Neil (Interviewer)"]}},{"label":{"en":["Date"]},"value":{"en":["1998-10-23"]}},{"label":{"en":["Coverage"]},"value":{"en":["New York, NY (Place of Recording)"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eOral history interview with Lukas Foss concerning the development of his compositional style during, before, and after his stint as conductor of the Jerusalem Symphony, including his neoclassical period. Discussion of his Jewish identity in music and his identification as American rather than German. Pieces discussed are: \u003cem\u003eAdon Olom (The Lord of All)\u003c/em\u003e, \u003cem\u003eBaroque Variations\u003c/em\u003e, \u003cem\u003eBehold, I Build a House\u003c/em\u003e, \u003cem\u003eConcerto for clarinet and orchestra No. 2\u003c/em\u003e, \u003cem\u003eDe Profundis\u003c/em\u003e, \u003cem\u003eElegy for Anne Frank\u003c/em\u003e, \u003cem\u003eLamdeni (Teach Me)\u003c/em\u003e, \u003cem\u003ePsalms\u003c/em\u003e, \u003cem\u003eRenaissance Concerto for flute and orchestra\u003c/em\u003e, \u003cem\u003eSalomone Rossi Suite\u003c/em\u003e, \u003cem\u003eSong of Songs\u003c/em\u003e, and \u003cem\u003eSong of Anguish\u003c/em\u003e.\u003c/p\u003e"]}},{"label":{"en":["Format"]},"value":{"en":["Beta SP"]}},{"label":{"en":["Subject"]},"value":{"en":["Jews -- Music (Topical Term)","Classical Music (Topical Term)","Foss, Lukas, 1922-2009 (Person or Corporate Body)","Oral Histories (genre/form)","Berkshire Music Center (Person or Corporate Body)","Tanglewood Music Center (Person or Corporate Body)"]}},{"label":{"en":["Keyword"]},"value":{"en":["Aleatoric Music, Anne Frank (1929-1945), Berlin Philharmonic (Berlin, Germany), The Book of Chronicles, Brooklyn Philharmonic (Brooklyn, NY), Buffalo Philharmonic (Buffalo, NY), Cathedral of St. John the Divine (New York City, NY), Domenico Scarlatti (1685-1757), Ellabelle Davis (1907-1960), George Frideric Handel (1685-1759), Igor Stravinsky (1882-1971), Israel Philharmonic (Tel Aviv, Israel), Jennie Tourel (1900-1973), Johann Sebastian Bach (1685-1750), Jerusalem Symphony Orchestra (Jerusalem, Israel), Julius Shakespeare (1564-1616), Kol Israel Foundation (Cleveland, OH), Leonard Bernstein (1918-1990), Milwaukee Symphony (Milwaukee, WI), Moshe Koussevitzky (1899-1906), Neoclassicism, New York Philharmonic (New York City, NY), Park Avenue Synagogue (New York City, NY), Ravenna Festival (Ravenna, Italy), Richard Fryer, Richard Stoltzman, (1942-), Roger Wagner (1914-1992), Rubin Academy Choir (Jerusalem, Israel), Salamone Rossi (1570-1630), Salomone Rossi (1570-1630), Serge Koussevitzky (1874-1951), Tanglewood Music Center (Lenox, MA), Twelve-tone Technique, Zubin Mehta (1936-)"]}}],"summary":{"en":["\u003cp\u003eOral history interview with Lukas Foss concerning the development of his compositional style during, before, and after his stint as\u0026nbsp;conductor of the Jerusalem Symphony, including his neoclassical period. Discussion of his Jewish identity in music and his identification as American rather than German. Pieces discussed are: \u003cem\u003eAdon Olom (The Lord of All)\u003c/em\u003e, \u003cem\u003eBaroque Variations\u003c/em\u003e, \u003cem\u003eBehold, I Build a House\u003c/em\u003e, \u003cem\u003eConcerto for clarinet and orchestra No. 2\u003c/em\u003e, \u003cem\u003eDe Profundis\u003c/em\u003e, \u003cem\u003eElegy for Anne Frank\u003c/em\u003e, \u003cem\u003eLamdeni (Teach Me)\u003c/em\u003e, \u003cem\u003ePsalms\u003c/em\u003e, \u003cem\u003eRenaissance Concerto for flute and orchestra\u003c/em\u003e, \u003cem\u003eSalomone Rossi Suite\u003c/em\u003e, \u003cem\u003eSong of Songs\u003c/em\u003e, and \u003cem\u003eSong of Anguish\u003c/em\u003e.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003e\u0026copy; Milken Family Foundation. Unauthorized use is prohibited. For inquiries, please contact info@milkenarchive.org.\u003c/p\u003e"]}},"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/000/111/933/small/Foss-Lukas.jpg?1620244643","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933","type":"Canvas","label":{"en":["Media File 1 of 1 - L1877_MA_Composer_Lukas_Foss_Fix_8_10_22_v2.mp4"]},"duration":1669.696,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/111/933/small/Foss-Lukas.jpg?1620244643","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/111/933/original/L1877_MA_Composer_Lukas_Foss_Fix_8_10_22_v2.mp4?1660328985","type":"Video","format":"video/mp4","duration":1669.696,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305","type":"AnnotationPage","label":{"en":["August 13 2022 [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Mr. Foss, welcome to the project of the Milken Foundation, the Archive of Jewish Music.\u003cbr\u003e\u003cbr\u003eFOSS:  Great to be part of it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And it’s a privilege to have you on the board.  I want to talk, first, about your music, which makes up a significant part of this Archive, as an American Jewish composer.  Let’s start with something that I myself have known for a long time, and long before I met you, which is the synagogue music, the Adon Olom.  Was that a commission?  How did that, was that…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=16.0,48.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  You know, I am not sure anymore.  I think it was a commission from a synagogue.\u003cbr\u003e\u003cbr\u003eLEVIN:  I think it was Park Avenue, wasn’t it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes, that’s it.  That’s it.  Thank you for your memories.\u003cbr\u003e\u003cbr\u003eLEVIN:  I think.  I’m not sure, but I think…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah.  And it’s for organ and chorus, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, is that a traditional Adon Olom or you - freely composed, with strictures, or…?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=48.0,68.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Without strictures.  I could do what, whatever I wanted.  But I made a very tonal piece, very, that’s very excessive — accessible.\u003cbr\u003e\u003cbr\u003eLEVIN:  And has it — I know it was performed at Park Avenue Synagogue.  There is a document showing that.  But has it become part of synagogue repertoire, or still…\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think it was, at one point, a part of the repertoire.  Whether it’s still done a lot, I am not sure.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=68.0,95.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  When you did a piece like that, did you have in mind any Gebrauchsmusik kind of thing, or is it a performance?  I mean, is it a, would you say it’s art music for the synagogue, or is it Gebrauchsmusik?  Or both? \tFOSS:  Art music for the synagogue, I would call it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=95.0,116.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  I think.\u003cbr\u003e\u003cbr\u003eLEVIN:  What about Lamdeni?  Now, we did that, together, in a conference, about 1989. But that’s from your, it…\u003cbr\u003e\u003cbr\u003e\tFOSS:  From my Israeli days, when I was conductor of the Jerusalem Symphony, I did that piece.  I haven’t heard it in a long time.  It was just a short piece that I, not one of my…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=116.0,137.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  How did you come to write it, just by itself?  I mean, it’s not part of a larger work.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think, I think it was Richard Fryer who actually introduced me to the text.  Way back in, in Israel.\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s an interesting, what’s interesting about it is the combination of percussion, as I recall, isn’t it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah.  It’s kind of free and aleatoric, somewhat.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=137.0,159.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  It is aleatoric?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, it’s got some aleatoric sections in it, at least.\u003cbr\u003e\u003cbr\u003eLEVIN:  For the percussion or for the choir?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think for the percussion.\u003cbr\u003e\u003cbr\u003eLEVIN:  Percussion, yeah.\u003cbr\u003e\u003cbr\u003eFOSS:  And for, for some of the instruments… But, as I said, I haven’t looked at that piece in ages.\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s, are there other pieces that represent your, your Israeli period?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=159.0,179.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well, I would say De Profundis does, in a sense.  I had someone translate the Latin into Hebrew.  And it’s, it’s a piece I am very fond of, for a cappella choir.\u003cbr\u003e\u003cbr\u003eLEVIN:  And De Profundis is, there is a recording of that?\u003cbr\u003e\u003cbr\u003eFOSS:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  No?\u003cbr\u003e\u003cbr\u003eFOSS:  I don’t think so.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=179.0,199.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I don’t think so, either.  The De Profundis, trans - you say it’s in Hebrew?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, it’s in Hebrew and English — both languages.  Multi-language.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  And Latin also?\u003cbr\u003e\u003cbr\u003e\tFOSS:  No.  The Latin, I think, is, is not.  It’s either in Latin or Hebrew.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, and plus English?\u003cbr\u003e\u003cbr\u003eFOSS:  Plus English, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Is it, how would you describe the, the piece itself?  I mean, is it…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=199.0,221.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s quite avant-garde.  And yet, it does have some Renaissance type of moments that are medieval or Renaissance.  And it’s, it’s a strange mixture.  But it’s quite provocative and quite avant-garde, at the same, same time.\u003cbr\u003e\u003cbr\u003eLEVIN:  What’s avant-garde nowadays is different from then, probably. What year was that written?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=221.0,241.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Oh, that must have been written about, I wished I had that information, but it’s not…\u003cbr\u003e\u003cbr\u003eLEVIN:  No, roughly.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I would say, roughly 15, 20 years ago.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  So it’s not a tonal piece.\u003cbr\u003e\u003cbr\u003eFOSS:  Yes, I would say it’s tonal.\u003cbr\u003e\u003cbr\u003eLEVIN:  Or it is.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I, I manage to be pretty adventurous and wild, even while I’m tonal.\u003cbr\u003e\u003cbr\u003eLEVIN: None of your music is serialized, is it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=241.0,262.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, I use that, too.  I use all the techniques.  You know, for me, the more techniques I use and make my own, the richer is my vocabulary.  I don’t call that a style.  Twelve-tone music is not a style, it’s a technique. And I, in one moment, I’m 12-tone, in the next moment, I’m diatonic.  In one moment, I’m aleatoric, and the next moment, everything is notated carefully.  I, the trick is to make it your own. As Stravinsky once said, he didn’t know that expression — make it your own.  He said, “You must always steal, but never from yourself.”  Because then, you don’t learn anything.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=262.0,294.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s perfectly said.  It’s just technique.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Technique, yeah.  There is good serial music and bad serial music, and good C-major music and bad C-major music.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s the same thing, you know, of course.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  If we could look at a piece like — we didn’t talk about this before, but we need to include this — is the Rossi Suite.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=294.0,316.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Oh, yes.  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  This is it’s something that really is a unique type of piece.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah.  I wrote that for the Jerusalem Symphony.\u003cbr\u003e\u003cbr\u003eLEVIN:  You did?\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, for a program that we were touring with, which was Jewish music.  And so, I wrote it for that purpose.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=316.0,336.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Tell us, what would be — I mean, this has a special characteristic.  The way it begins, with… the instruments… \tFOSS:  With the brass, yes.  Well, it’s, and it’s, of course, on, based on Salomon Rossi’s notes.  So, I could almost call it an arrangement.  It’s a very, it’s why, it’s a certain handshake across the centuries, you might say.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=336.0,360.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But you bend.  You bend it.  By the end of the piece, it’s very cleverly done.  I mean…\u003cbr\u003e\u003cbr\u003eFOSS:  Good.  I’m glad. I also have another version of it, which is using a tenor voice.  And on words of Shakespeare.  All the words are about music that Shakespeare has written.  Words that have to do with music. LEVIN:  I didn’t know that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=360.0,384.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  That’s another version of it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, you have another piece which is not in this program, because of — but it’s called, was it Baroque Suite?\u003cbr\u003e\u003cbr\u003e\tFOSS:  You mean Baroque Variations?\u003cbr\u003e\u003cbr\u003eLEVIN:  Baroque Variations, maybe.\u003cbr\u003e\u003cbr\u003eFOSS:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Isn’t there a similar kind of bending, of starting with…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=384.0,401.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well, the Baroque Variations is more like a nightmare.  Sort of a nightmare on the music of Handel, Bach, and Scarlatti.  Whereas the Salomon Rossi Suite is sort of an homage to Salomon Rossi.  So it’s, it’s quite different.\u003cbr\u003e\u003cbr\u003eLEVIN:  But you don’t retain Rossi’s harmonies by the end of…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=401.0,421.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well, not too much.  But still, it’s not trying to, to be totally modern and totally different from the originals.  It’s sticking pretty much to Salomon, to Rossi’s notes, and even in the harmony.\u003cbr\u003e\u003cbr\u003eLEVIN:  Even in the harmony…\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  So we could, I mean, but it’s definitely part of Jewish experience.  I mean, with Rossi, in fact, that’s a good overture FOSS:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s a good overture to a program.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=421.0,444.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah, I’m very fond of Salomon Rossi.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yes?\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that’s a chamber, that’s, it’s a string orchestra, isn’t it? \tFOSS:  It’s a chamber orchestra.  No, it’s not strings.\u003cbr\u003e\u003cbr\u003eLEVIN:  It has brass.\u003cbr\u003e\u003cbr\u003eFOSS:  It’s a chamber orchestra.\u003cbr\u003e\u003cbr\u003eLEVIN:  Chamber orchestra.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, now let’s go back to the Psalms.  Now, the Psalms are different.  De Profundis is also psalms, but that’s a particular psalm.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=444.0,466.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Psalms is another favorite of mine.  It’s an early work, but one that I’m very fond of, still, at this point.  And it’s scored for chorus and either organ or orchestra.  There are two versions.\u003cbr\u003e\u003cbr\u003eLEVIN:  Did you conceive of that as Judaically related, when you wrote, or…\u003cbr\u003e\u003cbr\u003e","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=466.0,489.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well…\u003cbr\u003e\u003cbr\u003eLEVIN: …or it’s your own personal conception?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes, it is some, somehow Judaically related.  Except that when I compose, I don’t think of style, I don’t think of, of those things.  I, I just compose.  I just write music, and whatever comes out, comes out. I, I think all my music is, is Jewish, whether I realize it or not.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=489.0,512.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And this is an important statement, if that’s the case.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Let’s just dwell on it, for a moment.  If you say all your music is Jewish, what does it mean?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=512.0,527.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s just that, it’s not even a religious thing.  It’s a kind of an identity that I feel.  Because, because I’m not really a religious Jew at all.  But I have an identity there that I think comes to the fore, whether I want it or not.  But it just happens.\u003cbr\u003e\u003cbr\u003eLEVIN:  Psalms — how did, is that a different period in your, in your work, from…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=527.0,549.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s, it’s from my neoclassic period.\u003cbr\u003e\u003cbr\u003eLEVIN:  Which is what?  The ‘60s?\u003cbr\u003e\u003cbr\u003eFOSS:  Yes, even the end of the ‘50s.\u003cbr\u003e\u003cbr\u003eLEVIN:  And the end of the ‘50s, yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes.  I would say, from, roughly, from ’55 on, for about seven years, I was very, very neoclassic.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, it’s different — would you say that that and De Profundis — which is also psalms — represent different musical approaches?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=549.0,573.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yes.  De Profundis is much more weird than Psalms.  Psalms may be noisy at times, but it’s not weird.\u003cbr\u003e\u003cbr\u003eLEVIN:  When you say “weird,” you mean, you mean harmonically, or…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah, harmonically and…\u003cbr\u003e\u003cbr\u003eLEVIN: …strange or…\u003cbr\u003e\u003cbr\u003eFOSS: …melodically.  I mean, there are strange glissandos, and so forth, in, in De Profundis.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=573.0,594.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  If I ask you about Song of Songs, which is, I think, one of your more important works, in general, whether it’s Judaic or not.  I mean, it’s…\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who sings on the recording?\u003cbr\u003e\u003cbr\u003eFOSS:  Jennie Tourel.\u003cbr\u003e\u003cbr\u003eLEVIN:  Jennie Tourel, yeah.\u003cbr\u003e\u003cbr\u003eFOSS:  And Bernstein recorded it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And with Bernstein.\u003cbr\u003e\u003cbr\u003eFOSS: With the New York Philharmonic.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, that’s in English, also.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=594.0,615.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Definitely, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  And, but of course, it’s Shir Hashirim.  It’s originally in Hebrew.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  How did that piece come to be?  Why did you write that piece?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, I was asked to write a piece for, was it, I think it was Ellabelle Davis.  I’m not sure. But there, there was some kind of a commission there.  Long ago, so I’m not quite sure anymore what it was, exactly.  I would have to look it up. I’m not my own connoisseur.  I hate to say that, but it’s true. Anyway, the first performance was with Koussevitzky.  So, it’s way back.  And he did, actually, eight performances in seven days.  It was a kind of an unusual situation.  He was very fond of the piece.  And he did it beautifully.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=615.0,670.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  They, this goes back a ways, obviously, if it was back…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah, he was my teacher.  Koussevitzky.\u003cbr\u003e\u003cbr\u003eLEVIN:  I know.  And where?  At Tanglewood, and…\u003cbr\u003e\u003cbr\u003eFOSS:  In Tanglewood.  Yeah, right. And I was about 23 or 24 when I wrote the piece.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, that’s really from your early period.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  Song of Songs.\u003cbr\u003e\u003cbr\u003e\tFOSS:  But Song of Anguish is even earlier.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, Song of Anguish — tell me about it.  Because I didn’t know about that ‘til today.  That’s the one piece I didn’t…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=670.0,693.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s based on, on Isaiah, from the Bible.  “Woe unto those who call good evil and evil good,” and so forth.  And it’s a, it’s for baritone and orchestra.\u003cbr\u003e\u003cbr\u003eLEVIN:  And…\u003cbr\u003e\u003cbr\u003e\tFOSS:  That’s, that’s even earlier.  That, that came first, and then Song of Songs came after.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=693.0,713.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Throughout these pieces, you never make use of, even for variation or anything, of, the way you did with the Baroque Suites, you make use of some original material, some existing material.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  But, I mean, in Baroque Variations, yeah.  But in these cases, I’m assuming you don’t…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Mostly, I don’t.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=713.0,732.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: …use any psalmody, or anything like that.\u003cbr\u003e\u003cbr\u003eFOSS:  I don’t.  In Lamdeni, I use some old Hebraic kind of things.  Some songs.\u003cbr\u003e\u003cbr\u003eLEVIN:  A chant, or something?\u003cbr\u003e\u003cbr\u003eFOSS:  Some chants, yes.  From way back.  But in most pieces, I don’t use anything.   Well, in my flute concerto, I used Renaissance music.  It’s called Renaissance Concerto. For flute and orchestra.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=732.0,753.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Uh-huh. And that’s, you begin with an actual bit of material?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes, I, but it transformed.  The, the, as I said before, to make it your own — that’s the important thing.\u003cbr\u003e\u003cbr\u003eLEVIN:  The Anne Frank Elegy — it’s elegy, isn’t it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Elegy for Anne Frank, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  How did you come to set, to pick that image?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=753.0,775.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, it, it was an anniversary of Anne Frank’s, for which I wrote it.  And the premiere was in the Cathedral of St. John the Divine.  And it, I wrote it enormously fast.  I have, somehow I was inspired by, by that story — by, by her diaries.  So I wrote it very fast.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=775.0,796.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That is, you just told me that it’s now part of a symphony.  But when you wrote it originally, you wrote it…\u003cbr\u003e\u003cbr\u003e\tFOSS:  I wrote it originally for piano obbligato and strings.  And, and then, later on, I, it became the second movement of my Symphony No. 3.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=796.0,813.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  So, it began individually, and then, you incorporated it?\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah. Yeah, you had the Brooklyn Philharmonic there, didn’t you?\u003cbr\u003e\u003cbr\u003eFOSS:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Was - yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Brooklyn Philharmonic.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, yeah.  It must have been eight, almost ten years ago.  A piece like that, for example, how is it Lukas Foss?  I mean, musically?  It is just because, I - would you describe it in any, with any particular musical technique, or that you…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=813.0,846.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s melodic.  It’s my type of melody, my type of harmony, which is difficult to describe.  And, you know, it’s very soulful.  One of the most soulful things I’ve done.  And sometimes, it’s done with narration.  Namely, namely, bits from her diaries.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, it is?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=846.0,868.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.  It’s been done that way.\u003cbr\u003e\u003cbr\u003eLEVIN:  But it doesn’t have to be.\u003cbr\u003e\u003cbr\u003eFOSS:  It doesn’t have to be, but it can be.\u003cbr\u003e\u003cbr\u003eLEVIN:  What - is it programmatic, in any way?  The piece?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, yes.  At one point, at one point, there is the, you hear the Nazi hymn, for a moment.  And then, kind of a horrible climax, and then, it goes back to the elegy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=868.0,888.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Mm-hmm.  This Behold, I Build A House, that you told me about.  That te - where’s that text from?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Chronicles.\u003cbr\u003e\u003cbr\u003eLEVIN:  And, again, that’s one passage.  It’s not part of a set, is it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  No, no.  It’s just a single piece.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that’s the kind of thing — I mean, what level would you say, chorus?  How difficult is it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=888.0,913.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s not terribly difficult.  I think it’s easier than Psalms, and it’s, it’s certainly easier than De Profundis.  Yes, there’s no problem with it.  That’s why it’s done a lot, by college choirs, and by all kinds of choirs.\u003cbr\u003e\u003cbr\u003eLEVIN:  We could record that with the Duquesne Chorus, for example?\u003cbr\u003e\u003cbr\u003eFOSS:  Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  Because they’re recording…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=913.0,933.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN: …a bunch of pieces for us.  So I could give them that piece.  It would be very good. I’m going to talk about the project in its wider sense, here.  Why do you think, as a board member, as an advisory board member of this project, how would you assess the importance of the project, of what we’re doing, of this undertaking?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=933.0,959.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e I think it’s of phenomenal importance.  I mean, there, there are so many wonderful Jewish composers who should be featured, and aren’t really known at all.  And, in your Archives, there are quite a few already.  And it’s certainly something that should be followed up, built up.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=959.0,982.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Do you think that this project has importance — and you could speak to it as you wish, elaborate, for the wider musical culture — not just the Jew, we’re not talking just for Jews, but…\u003cbr\u003e\u003cbr\u003eFOSS:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  In the, in music.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=982.0,1003.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  That’s my point.  Yes, we should, these composers should be known, and their music should be played all over.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you think that this is going to change things at all?  Do you think people will start programming?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think it will make a difference.  Definitely.  But then, I’m an optimist.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1003.0,1025.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s right.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I mean, we are living in a strange time, where, where things are not always that idealistic.  But I’m, that’s even more important, therefore, to be idealistic. I mean, for instance, when I was young, it was a better period, in the sense of the mere fact that I had a talent opened up all the doors to me.  Now, if somebody has a talent, so what?  Another talent.  But if somebody is successful, the doors open.  If somebody is on television, the doors open. That’s, that’s not perfect.  That’s not quite the way it should be.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1025.0,1056.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Is that possibly why so much of this music has become buried?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think so.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, how about the balance?  I mean, what do you think of the balance of what we’re doing?  Because, you know, we’re doing some synagogue music and concert music, and cantorial music and avant-garde operas, and so on.  What’s your view on the balance, of giving the total picture here?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1056.0,1083.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, I think there is always a crossover.  I mean, much religious music has become concert music, and it’s, it’s played in, in concerts.  I mean, there is a lot of crossover.  Certainly, it’s not just for the church or for the synagogue, when, when religious music is being written.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1083.0,1105.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Do you know of any other project like this in the music of Jew – of Jewish experience?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think there may have been some in Israel when I was conductor of the Jerusalem, Jerusalem Symphony.  There were some projects of this kind, but they were on a much smaller scale than your foundation.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1105.0,1122.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Why would serious artists — conductors, performers, that is to say, conductors, pianists, violinists, singers, whatever — why might they want to participate in this project?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1122.0,1141.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, because it is idealistic.  Because it is, there’s no, no selfishness involved there.  It’s, it’s just to help music and help, and help the, the faith.  And I think it’s a wonderful project.  I, I am all for it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1141.0,1162.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Do you think… the music — I hate to, I’m avoiding using the word “Jewish music,” because it’s so difficult to define, but it is the name of the project, so, we now know that Jewish music means all of this vast variety of different types.  Whether it’s your De Profundis, or whether it’s an old cantorial recitative of Moshe Koussevitzky.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1162.0,1186.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Or whether it’s an opera of Hugo Weisgall, or whatever it might be.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you think that this is, do you conceive of this — and if so, just I’d like you to talk for a moment about it — do you conceive of this as a part of American culture?  One wedge of the pie.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1186.0,1207.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, I’d like to think of it that way.  I mean, some people might disagree, but I like to think of it as being part of the American culture. I mean, so, certainly, Gershwin is part of the American culture.  I mean, we, we’ve got a lot, a lot — Copland is, and Bernstein, and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1207.0,1226.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And Lukas Foss?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Exactly.  We all belong there.  I think that American music is, to a great extent, Jewish music.\u003cbr\u003e\u003cbr\u003eLEVIN:  How?  How so?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, by, by just naming these, these wonderful composers that made history.\u003cbr\u003e\u003cbr\u003eLEVIN:  Also, I suppose, because America is… a sub - is a composite of ethnic cultures, anyway.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1226.0,1257.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It, it is, absolutely.  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Of which Jews are one.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Mm-hmm.  I mean, there’s a definite Jewish quality in the music of Leonard Bernstein.  Not so much in Copland, maybe. Except in a few pieces.\u003cbr\u003e\u003cbr\u003eLEVIN:  And also American.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1257.0,1277.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  In both cases.\u003cbr\u003e\u003cbr\u003eFOSS:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, you came here in, you were what?  About ten years old?\u003cbr\u003e\u003cbr\u003e\tFOSS:  In 1937.  I was 15.\u003cbr\u003e\u003cbr\u003eLEVIN:  Fifteen.\u003cbr\u003e\u003cbr\u003eFOSS:  I came to Paris age 11, and to America age 15.\u003cbr\u003e\u003cbr\u003eLEVIN:  You were born in Berlin?\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  Not far from where the Wall was.  Very close.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1277.0,1297.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Absolutely.  I’ve been looking for my birthplace.  I can’t find it, because it’s…\u003cbr\u003e\u003cbr\u003eLEVIN:  Not now.\u003cbr\u003e\u003cbr\u003eFOSS:  It was probably buried by the Wall.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s right.\u003cbr\u003e\u003cbr\u003eFOSS:  And, after one point, I can’t find it.  But it was Lützowufer.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  And then, when you came, so, you came here, and you definitely are an American composer.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1297.0,1317.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS: Yes. Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN: When you came to America…\u003cbr\u003e\u003cbr\u003eFOSS:  I remember when I came back to conduct the Berlin Philharmonic.  I was by that time maybe 22, 23, 24, I’m not sure.  And I was pulled into a room with a lot of cigar-smoking reporters.  And the first question was, “Well, Mr. Foss, how does it feel to be back home?”  My answer was, “Sorry.  I’ll be back home when I return to New York.” They didn’t like that, particularly, but it just came out.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1317.0,1343.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah.  I mean, you’ve been a fixture here — well, I mean, I first came - knew you, your name as, was it Buffalo?\u003cbr\u003e\u003cbr\u003eFOSS:  Buffalo Philharmonic, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Buffalo Philharmonic.  So, that’s a long time ago.\u003cbr\u003e\u003cbr\u003eFOSS: Mm-hmm.\u003cbr\u003e\u003cbr\u003eLEVIN: And then, when you came to Ravenna Festival.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  The first couple of times.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1343.0,1363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s a while back.\u003cbr\u003e\u003cbr\u003eFOSS:  Quite a while.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, where else did you – so you had Milwaukee?\u003cbr\u003e\u003cbr\u003eFOSS:  Milwaukee Symphony.  Jerusalem Symphony.  Buffalo Philharmonic.  Brooklyn Philharmonic.\u003cbr\u003e\u003cbr\u003eLEVIN:  And, of course, guest conductor everywhere. Tell me about the Jerusalem years.  Now, how did that happen, that an American became conductor of Jerusalem?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1363.0,1383.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yes, I wonder, now.  I’m trying to remember who actually made it happen.  Who brought me to… I was conducting, guest conducting the Israel Philharmonic, and that probably triggered it.\u003cbr\u003e\u003cbr\u003eLEVIN: Yeah. Probably.\u003cbr\u003e\u003cbr\u003eFOSS: That made me visible there, and, and so they asked me if I would be interested.\u003cbr\u003e\u003cbr\u003eLEVIN:  What year, that was in the ‘60s, or…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1383.0,1403.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Early ‘60s, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, that was when it was — yeah, now, it’s Jerusalem.  It was Kol Yisrael.  Sponsored by Kol Yisrael.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah, it was just four years.  And in those four years, I would travel back and forth between Israel and America.\u003cbr\u003e\u003cbr\u003eLEVIN:  I was going to ask you, how much time did you spend, did you spend in…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Not that much.  But quite a bit of travel, I would say.  At least five trips a year.\u003cbr\u003e\u003cbr\u003eLEVIN:  Uh-huh.  Well, sure.  Because they played, they did a lot.  They did all the recording for the orchestra, for the radio station, too.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1403.0,1425.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah, right.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, played more and more live performances.\u003cbr\u003e\u003cbr\u003e\tFOSS:  And it’s a good orchestra.  I enjoyed it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, well…\u003cbr\u003e\u003cbr\u003eFOSS:  I still come, I still come back.\u003cbr\u003e\u003cbr\u003eLEVIN: …it would be good to record some of this music right here with them.\u003cbr\u003e\u003cbr\u003eFOSS:  Wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, that would make sense — for you to conduct them.\u003cbr\u003e\u003cbr\u003eFOSS:  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  And if it’s chorus, we could use, but there is no more Rinat Choir, you know.  It’s gone.  It’s finished. But there are other — The Rubin Academy Choir, maybe.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1425.0,1451.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  How are the choruses that Joe Ness works with?\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s amateur chorus.\u003cbr\u003e\u003cbr\u003eFOSS:  That’s amateur.\u003cbr\u003e\u003cbr\u003eLEVIN:  Completely amateur. FOSS:  I see, okay.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, that’s not good enough for this.\u003cbr\u003e\u003cbr\u003eFOSS:  I see.\u003cbr\u003e\u003cbr\u003eLEVIN:  But in Israel, the Rubin Academy Chorus probably would be good enough.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1451.0,1469.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s probably good.  Together with Jerusalem Symphony, we could do, if something is chorus and orchestra.  But actually, nothing is chorus and orchestra, is it?  No - De Profundis is with orchestra?\u003cbr\u003e\u003cbr\u003e\tFOSS:  That’s just chorus.  A cappella.\u003cbr\u003e\u003cbr\u003eLEVIN:  Just chorus.  It’s a cappella.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Psalms is best with, with orchestra.\u003cbr\u003e\u003cbr\u003eLEVIN:  Psalms is the only one.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.  It’s very nice.  But it can, it can also be done with two pianos.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  I thought that Psalms was recorded once.  But no?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1469.0,1492.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah, it was recorded, on an LP.  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, only on an LP.\u003cbr\u003e\u003cbr\u003eFOSS:  I don’t think it’s been re-released.  I don’t think so.  At least, I don’t know of it.  But sometimes, I’m not even aware of things that are re-released.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who did it?  Do you remember who did Psalms?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes.  The first performance recorded was Roger Wagner.\u003cbr\u003e\u003cbr\u003eLEVIN:  Uh-huh. That was pretty good. \tFOSS:  That was with two pianos.  And then I did the next one with the Milwaukee Symphony with orchestra.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1492.0,1514.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Uh-huh.\u003cbr\u003e\u003cbr\u003e\tFOSS:  That should be re-released.  That was such a good performance.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, we’ll see.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Because Song of Songs is re-released, now.  You know that.  On CD.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, that, I heard something.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Beautiful, beautiful recording of Bernstein conducting three of my works.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s on the, that’s on — I just heard a clarinet concerto of yours…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1514.0,1535.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.  With Stoltzman.\u003cbr\u003e\u003cbr\u003eLEVIN:  And Stoltzman does a good job, I think? \u003cbr\u003e\u003cbr\u003eFOSS: Oh, he’s wonderful. We do quite a few concerts together, Stoltzman and I.\u003cbr\u003e\u003cbr\u003eLEVIN: Yeah. If you look at the timeframe for this, for this project, how do you think it will affect the education of music in America?  Do you think it, when you have a, when we have this 50 CDs of the music of American Jews…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1535.0,1559.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e I think it will certainly affect the education of, in quite a few schools, where they take that sort of thing seriously. I think so, I think so too… it all has of course to do these days with public relations, to what extent it’s marketed, to what extent it becomes famous. But it should have an impact, I’m sure.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1559.0,1580.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: Is there anything you would like to say about your pieces?\u003cbr\u003e\u003cbr\u003eFOSS:  No, I think that we’ve covered it all.  I, I’m better at speaking about Bach, Mozart and Beethoven than I am about Foss.  It’s always more a bit difficult to speak about yourself.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1580.0,1600.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But there’s something about — I mean, yeah, there are different views, I mean, about conducting your own pieces.  There are some people who say they’d rather have someone conduct their own, his piece, too.  How do you feel about that?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, I love others to premiere my pieces, and then I do myself - I give myself a second performance.\u003cbr\u003e\u003cbr\u003eLEVIN: Very good.  That’s very clever.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I like it when people — like, Zubin Mehta did the premiere of my third symphony.  And then, I did it, later on, in Europe and different places.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1600.0,1631.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Is there anything else you’d like to discuss or say about this project?  Either about your own music, or other people’s music in it, or anything?\u003cbr\u003e\u003cbr\u003eFOSS:  I think, at the moment, I can’t think of anything.  But I think we covered a lot of ground.\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.\u003cbr\u003e\u003cbr\u003eFOSS:  I hope that you are satisfied with what we’ve…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1631.0,1651.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/39305/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Sure.\u003cbr\u003e\u003cbr\u003eFOSS: …done.\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.  Thanks so much.\u003cbr\u003e\u003cbr\u003eFOSS:  Well, it’s been wonderful to…\u003cbr\u003e\u003cbr\u003eLEVIN:  Sure.\u003cbr\u003e\u003cbr\u003eFOSS: …collaborate with you.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003eFOSS:  And we’ll continue this collaboration.\u003cbr\u003e\u003cbr\u003eLEVIN: Absolutely.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1651.0,1669.696"}]},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002","type":"AnnotationPage","label":{"en":["Lukas Foss [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Mr. Foss, welcome to the project of the Milken Foundation, the Archive of Jewish Music.\u003cbr\u003e\u003cbr\u003eFOSS:  Great to be part of it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And it’s a privilege to have you on the board.  I want to talk, first, about your music, which makes up a significant part of this Archive, as an American Jewish composer.  Let’s start with something that I myself have known for a long time, and long before I met you, which is the synagogue music, the Adon Olam.  Was that a commission?  How did that, was that…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=16.0,48.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  You know, I am not sure anymore.  I think it was a commission from a synagogue.\u003cbr\u003e\u003cbr\u003eLEVIN:  I think it was Park Avenue, wasn’t it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes, that’s it.  That’s it.  Thank you for your memories.\u003cbr\u003e\u003cbr\u003eLEVIN:  I think.  I’m not sure, but I think…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah.  And it’s for organ and chorus, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, is that a traditional Adon Olam or you - freely composed, with strictures, or…?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=48.0,68.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Without strictures.  I could do what, whatever I wanted.  But I made a very tonal piece, very, that’s very excessive — accessible.\u003cbr\u003e\u003cbr\u003eLEVIN:  And has it — I know it was performed at Park Avenue Synagogue.  There is a document showing that.  But has it become part of synagogue repertoire, or still…\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think it was, at one point, a part of the repertoire.  Whether it’s still done a lot, I am not sure.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=68.0,95.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  When you did a piece like that, did you have in mind any Gebrauchsmusik kind of thing, or is it a performance?  I mean, is it a, would you say it’s art music for the synagogue, or is it Gebrauchsmusik?  Or both?\u003cbr\u003e\tFOSS:  Art music for the synagogue, I would call it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=95.0,116.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  I think.\u003cbr\u003e\u003cbr\u003eLEVIN:  What about Lamdeni?  Now, we did that, together, in a conference, about 1989. But that’s from your, it…\u003cbr\u003e\u003cbr\u003e\tFOSS:  From my Israeli days, when I was conductor of the Jerusalem Symphony, I did that piece.  I haven’t heard it in a long time.  It was just a short piece that I, not one of my…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=116.0,137.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  How did you come to write it, just by itself?  I mean, it’s not part of a larger work.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think, I think it was Richard Fryer who actually introduced me to the text.  Way back in, in Israel.\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s an interesting, what’s interesting about it is the combination of percussion, as I recall, isn’t it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah.  It’s kind of free and aleatoric, somewhat.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=137.0,159.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  It is aleatoric?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, it’s got some aleatoric sections in it, at least.\u003cbr\u003e\u003cbr\u003eLEVIN:  For the percussion or for the choir?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think for the percussion.\u003cbr\u003e\u003cbr\u003eLEVIN:  Percussion, yeah.\u003cbr\u003e\u003cbr\u003eFOSS:  And for, for some of the instruments… But, as I said, I haven’t looked at that piece in ages.\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s, are there other pieces that represent your, your Israeli period?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=159.0,179.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well, I would say De Profundis does, in a sense.  I had someone translate the Latin into Hebrew.  And it’s, it’s a piece I am very fond of, for a cappella choir.\u003cbr\u003e\u003cbr\u003eLEVIN:  And De Profundis is, there is a recording of that?\u003cbr\u003e\u003cbr\u003eFOSS:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  No?\u003cbr\u003e\u003cbr\u003eFOSS:  I don’t think so.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=179.0,199.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I don’t think so, either.  The De Profundis, trans - you say it’s in Hebrew?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, it’s in Hebrew and English — both languages.  Multi-language.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  And Latin also?\u003cbr\u003e\u003cbr\u003e\tFOSS:  No.  The Latin, I think, is, is not.  It’s either in Latin or Hebrew.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, and plus English?\u003cbr\u003e\u003cbr\u003eFOSS:  Plus English, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Is it, how would you describe the, the piece itself?  I mean, is it…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=199.0,221.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s quite avant-garde.  And yet, it does have some Renaissance type of moments that are medieval or Renaissance.  And it’s, it’s a strange mixture.  But it’s quite provocative and quite avant-garde, at the same, same time.\u003cbr\u003e\u003cbr\u003eLEVIN:  What’s avant-garde nowadays is different from then, probably. What year was that written?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=221.0,241.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Oh, that must have been written about, I wished I had that information, but it’s not…\u003cbr\u003e\u003cbr\u003eLEVIN:  No, roughly.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I would say, roughly 15, 20 years ago.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  So it’s not a tonal piece.\u003cbr\u003e\u003cbr\u003eFOSS:  Yes, I would say it’s tonal.\u003cbr\u003e\u003cbr\u003eLEVIN:  Or it is.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I, I manage to be pretty adventurous and wild, even while I’m tonal.\u003cbr\u003e\u003cbr\u003eLEVIN: None of your music is serialized, is it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=241.0,262.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, I use that, too.  I use all the techniques.  You know, for me, the more techniques I use and make my own, the richer is my vocabulary.  I don’t call that a style.  Twelve-tone music is not a style, it’s a technique. And I, in one moment, I’m 12-tone, in the next moment, I’m diatonic.  In one moment, I’m aleatoric, and the next moment, everything is notated carefully.  I, the trick is to make it your own. As Stravinsky once said, he didn’t know that expression — make it your own.  He said, “You must always steal, but never from yourself.”  Because then, you don’t learn anything.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=262.0,294.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s perfectly said.  It’s just technique.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Technique, yeah.  There is good serial music and bad serial music, and good C-major music and bad C-major music.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s the same thing, you know, of course.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  If we could look at a piece like — we didn’t talk about this before, but we need to include this — is the Rossi Suite.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=294.0,316.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Oh, yes.  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  This is it’s something that really is a unique type of piece.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah.  I wrote that for the Jerusalem Symphony.\u003cbr\u003e\u003cbr\u003eLEVIN:  You did?\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, for a program that we were touring with, which was Jewish music.  And so, I wrote it for that purpose.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=316.0,336.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Tell us, what would be — I mean, this has a special characteristic.  The way it begins, with… the instruments…\u003cbr\u003e\tFOSS:  With the brass, yes.  Well, it’s, and it’s, of course, on, based on Salomon Rossi’s notes.  So, I could almost call it an arrangement.  It’s a very, it’s why, it’s a certain handshake across the centuries, you might say.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=336.0,360.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But you bend.  You bend it.  By the end of the piece, it’s very cleverly done.  I mean…\u003cbr\u003e\u003cbr\u003eFOSS:  Good.  I’m glad. I also have another version of it, which is using a tenor voice.  And on words of Shakespeare.  All the words are about music that Shakespeare has written.  Words that have to do with music.\u003cbr\u003eLEVIN:  I didn’t know that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=360.0,384.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  That’s another version of it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, you have another piece which is not in this program, because of — but it’s called, was it Baroque Suite?\u003cbr\u003e\u003cbr\u003e\tFOSS:  You mean Baroque Variations?\u003cbr\u003e\u003cbr\u003eLEVIN:  Baroque Variations, maybe.\u003cbr\u003e\u003cbr\u003eFOSS:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Isn’t there a similar kind of bending, of starting with…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=384.0,401.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well, the Baroque Variations is more like a nightmare.  Sort of a nightmare on the music of Handel, Bach, and Scarlatti.  Whereas the Salomon Rossi Suite is sort of an homage to Salomon Rossi.  So it’s, it’s quite different.\u003cbr\u003e\u003cbr\u003eLEVIN:  But you don’t retain Rossi’s harmonies by the end of…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=401.0,421.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well, not too much.  But still, it’s not trying to, to be totally modern and totally different from the originals.  It’s sticking pretty much to Salomon, to Rossi’s notes, and even in the harmony.\u003cbr\u003e\u003cbr\u003eLEVIN:  Even in the harmony…\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  So we could, I mean, but it’s definitely part of Jewish experience.  I mean, with Rossi, in fact, that’s a good overture\u003cbr\u003eFOSS:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s a good overture to a program.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=421.0,444.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah, I’m very fond of Salomon Rossi.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yes?\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that’s a chamber, that’s, it’s a string orchestra, isn’t it?\u003cbr\u003e\tFOSS:  It’s a chamber orchestra.  No, it’s not strings.\u003cbr\u003e\u003cbr\u003eLEVIN:  It has brass.\u003cbr\u003e\u003cbr\u003eFOSS:  It’s a chamber orchestra.\u003cbr\u003e\u003cbr\u003eLEVIN:  Chamber orchestra.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, now let’s go back to the Psalms.  Now, the Psalms are different.  De Profundis is also psalms, but that’s a particular psalm.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=444.0,466.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Psalms is another favorite of mine.  It’s an early work, but one that I’m very fond of, still, at this point.  And it’s scored for chorus and either organ or orchestra.  There are two versions.\u003cbr\u003e\u003cbr\u003eLEVIN:  Did you conceive of that as Judaically related, when you wrote, or…\u003cbr\u003e\u003cbr\u003e","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=466.0,489.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Well…\u003cbr\u003e\u003cbr\u003eLEVIN: …or it’s your own personal conception?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes, it is some, somehow Judaically related.  Except that when I compose, I don’t think of style, I don’t think of, of those things.  I, I just compose.  I just write music, and whatever comes out, comes out. I, I think all my music is, is Jewish, whether I realize it or not.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=489.0,512.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And this is an important statement, if that’s the case.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Let’s just dwell on it, for a moment.  If you say all your music is Jewish, what does it mean?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=512.0,527.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s just that, it’s not even a religious thing.  It’s a kind of an identity that I feel.  Because, because I’m not really a religious Jew at all.  But I have an identity there that I think comes to the fore, whether I want it or not.  But it just happens.\u003cbr\u003e\u003cbr\u003eLEVIN:  Psalms — how did, is that a different period in your, in your work, from…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=527.0,549.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s, it’s from my neoclassic period.\u003cbr\u003e\u003cbr\u003eLEVIN:  Which is what?  The ‘60s?\u003cbr\u003e\u003cbr\u003eFOSS:  Yes, even the end of the ‘50s.\u003cbr\u003e\u003cbr\u003eLEVIN:  And the end of the ‘50s, yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes.  I would say, from, roughly, from ’55 on, for about seven years, I was very, very neoclassic.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, it’s different — would you say that that and De Profundis — which is also psalms — represent different musical approaches?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=549.0,573.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yes.  De Profundis is much more weird than Psalms.  Psalms may be noisy at times, but it’s not weird.\u003cbr\u003e\u003cbr\u003eLEVIN:  When you say “weird,” you mean, you mean harmonically, or…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah, harmonically and…\u003cbr\u003e\u003cbr\u003eLEVIN: …strange or…\u003cbr\u003e\u003cbr\u003eFOSS: …melodically.  I mean, there are strange glissandos, and so forth, in, in De Profundis.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=573.0,594.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  If I ask you about Song of Songs, which is, I think, one of your more important works, in general, whether it’s Judaic or not.  I mean, it’s…\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who sings on the recording?\u003cbr\u003e\u003cbr\u003eFOSS:  Jennie Tourel.\u003cbr\u003e\u003cbr\u003eLEVIN:  Jennie Tourel, yeah.\u003cbr\u003e\u003cbr\u003eFOSS:  And Bernstein recorded it.\u003cbr\u003e\u003cbr\u003eLEVIN:  And with Bernstein.\u003cbr\u003e\u003cbr\u003eFOSS: With the New York Philharmonic.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, that’s in English, also.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=594.0,615.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Definitely, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  And, but of course, it’s Shir Hashirim.  It’s originally in Hebrew.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  How did that piece come to be?  Why did you write that piece?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, I was asked to write a piece for, was it, I think it was Ellabelle Davis.  I’m not sure. But there, there was some kind of a commission there.  Long ago, so I’m not quite sure anymore what it was, exactly.  I would have to look it up. I’m not my own connoisseur.  I hate to say that, but it’s true. Anyway, the first performance was with Koussevitzky.  So, it’s way back.  And he did, actually, eight performances in seven days.  It was a kind of an unusual situation.  He was very fond of the piece.  And he did it beautifully.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=615.0,670.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  They, this goes back a ways, obviously, if it was back…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah, he was my teacher.  Koussevitzky.\u003cbr\u003e\u003cbr\u003eLEVIN:  I know.  And where?  At Tanglewood, and…\u003cbr\u003e\u003cbr\u003eFOSS:  In Tanglewood.  Yeah, right. And I was about 23 or 24 when I wrote the piece.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, that’s really from your early period.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah, definitely.\u003cbr\u003e\u003cbr\u003eLEVIN:  Song of Songs.\u003cbr\u003e\u003cbr\u003e\tFOSS:  But Song of Anguish is even earlier.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, Song of Anguish — tell me about it.  Because I didn’t know about that ‘til today.  That’s the one piece I didn’t…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=670.0,693.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s based on, on Isaiah, from the Bible.  “Woe unto those who call good evil and evil good,” and so forth.  And it’s a, it’s for baritone and orchestra.\u003cbr\u003e\u003cbr\u003eLEVIN:  And…\u003cbr\u003e\u003cbr\u003e\tFOSS:  That’s, that’s even earlier.  That, that came first, and then Song of Songs came after.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=693.0,713.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Throughout these pieces, you never make use of, even for variation or anything, of, the way you did with the Baroque Suites, you make use of some original material, some existing material.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  But, I mean, in Baroque Variations, yeah.  But in these cases, I’m assuming you don’t…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Mostly, I don’t.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=713.0,732.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: …use any psalmody, or anything like that.\u003cbr\u003e\u003cbr\u003eFOSS:  I don’t.  In Lamdeni, I use some old Hebraic kind of things.  Some songs.\u003cbr\u003e\u003cbr\u003eLEVIN:  A chant, or something?\u003cbr\u003e\u003cbr\u003eFOSS:  Some chants, yes.  From way back.  But in most pieces, I don’t use anything.   Well, in my flute concerto, I used Renaissance music.  It’s called Renaissance Concerto. For flute and orchestra.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=732.0,753.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Uh-huh. And that’s, you begin with an actual bit of material?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes, I, but it transformed.  The, the, as I said before, to make it your own — that’s the important thing.\u003cbr\u003e\u003cbr\u003eLEVIN:  The Anne Frank Elegy — it’s elegy, isn’t it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Elegy for Anne Frank, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  How did you come to set, to pick that image?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=753.0,775.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, it, it was an anniversary of Anne Frank’s, for which I wrote it.  And the premiere was in the Cathedral of St. John the Divine.  And it, I wrote it enormously fast.  I have, somehow I was inspired by, by that story — by, by her diaries.  So I wrote it very fast.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=775.0,796.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That is, you just told me that it’s now part of a symphony.  But when you wrote it originally, you wrote it…\u003cbr\u003e\u003cbr\u003e\tFOSS:  I wrote it originally for piano obbligato and strings.  And, and then, later on, I, it became the second movement of my Symphony No. 3.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=796.0,813.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  So, it began individually, and then, you incorporated it?\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah. Yeah, you had the Brooklyn Philharmonic there, didn’t you?\u003cbr\u003e\u003cbr\u003eFOSS:  Yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Was - yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Brooklyn Philharmonic.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, yeah.  It must have been eight, almost ten years ago.  A piece like that, for example, how is it Lukas Foss?  I mean, musically?  It is just because, I - would you describe it in any, with any particular musical technique, or that you…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=813.0,846.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s melodic.  It’s my type of melody, my type of harmony, which is difficult to describe.  And, you know, it’s very soulful.  One of the most soulful things I’ve done.  And sometimes, it’s done with narration.  Namely, namely, bits from her diaries.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, it is?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=846.0,868.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.  It’s been done that way.\u003cbr\u003e\u003cbr\u003eLEVIN:  But it doesn’t have to be.\u003cbr\u003e\u003cbr\u003eFOSS:  It doesn’t have to be, but it can be.\u003cbr\u003e\u003cbr\u003eLEVIN:  What - is it programmatic, in any way?  The piece?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, yes.  At one point, at one point, there is the, you hear the Nazi hymn, for a moment.  And then, kind of a horrible climax, and then, it goes back to the elegy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=868.0,888.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Mm-hmm.  This Behold, I Build A House, that you told me about.  That te - where’s that text from?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Chronicles.\u003cbr\u003e\u003cbr\u003eLEVIN:  And, again, that’s one passage.  It’s not part of a set, is it?\u003cbr\u003e\u003cbr\u003e\tFOSS:  No, no.  It’s just a single piece.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that’s the kind of thing — I mean, what level would you say, chorus?  How difficult is it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=888.0,913.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It’s not terribly difficult.  I think it’s easier than Psalms, and it’s, it’s certainly easier than De Profundis.  Yes, there’s no problem with it.  That’s why it’s done a lot, by college choirs, and by all kinds of choirs.\u003cbr\u003e\u003cbr\u003eLEVIN:  We could record that with the Duquesne Chorus, for example?\u003cbr\u003e\u003cbr\u003eFOSS:  Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  Because they’re recording…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=913.0,933.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN: …a bunch of pieces for us.  So I could give them that piece.  It would be very good. I’m going to talk about the project in its wider sense, here.  Why do you think, as a board member, as an advisory board member of this project, how would you assess the importance of the project, of what we’re doing, of this undertaking?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=933.0,959.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e I think it’s of phenomenal importance.  I mean, there, there are so many wonderful Jewish composers who should be featured, and aren’t really known at all.  And, in your Archives, there are quite a few already.  And it’s certainly something that should be followed up, built up.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=959.0,982.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Do you think that this project has importance — and you could speak to it as you wish, elaborate, for the wider musical culture — not just the Jew, we’re not talking just for Jews, but…\u003cbr\u003e\u003cbr\u003eFOSS:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  In the, in music.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=982.0,1003.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  That’s my point.  Yes, we should, these composers should be known, and their music should be played all over.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you think that this is going to change things at all?  Do you think people will start programming?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think it will make a difference.  Definitely.  But then, I’m an optimist.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1003.0,1025.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s right.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I mean, we are living in a strange time, where, where things are not always that idealistic.  But I’m, that’s even more important, therefore, to be idealistic. I mean, for instance, when I was young, it was a better period, in the sense of the mere fact that I had a talent opened up all the doors to me.  Now, if somebody has a talent, so what?  Another talent.  But if somebody is successful, the doors open.  If somebody is on television, the doors open. That’s, that’s not perfect.  That’s not quite the way it should be.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1025.0,1056.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Is that possibly why so much of this music has become buried?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think so.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, how about the balance?  I mean, what do you think of the balance of what we’re doing?  Because, you know, we’re doing some synagogue music and concert music, and cantorial music and avant-garde operas, and so on.  What’s your view on the balance, of giving the total picture here?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1056.0,1083.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, I think there is always a crossover.  I mean, much religious music has become concert music, and it’s, it’s played in, in concerts.  I mean, there is a lot of crossover.  Certainly, it’s not just for the church or for the synagogue, when, when religious music is being written.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1083.0,1105.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Do you know of any other project like this in the music of Jew – of Jewish experience?\u003cbr\u003e\u003cbr\u003e\tFOSS:  I think there may have been some in Israel when I was conductor of the Jerusalem, Jerusalem Symphony.  There were some projects of this kind, but they were on a much smaller scale than your foundation.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1105.0,1122.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Why would serious artists — conductors, performers, that is to say, conductors, pianists, violinists, singers, whatever — why might they want to participate in this project?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1122.0,1141.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, because it is idealistic.  Because it is, there’s no, no selfishness involved there.  It’s, it’s just to help music and help, and help the, the faith.  And I think it’s a wonderful project.  I, I am all for it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1141.0,1162.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eLEVIN:\u003c/strong\u003e Do you think… the music — I hate to, I’m avoiding using the word “Jewish music,” because it’s so difficult to define, but it is the name of the project, so, we now know that Jewish music means all of this vast variety of different types.  Whether it’s your De Profundis, or whether it’s an old cantorial recitative of Moshe Koussevitzky.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1162.0,1186.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Or whether it’s an opera of Hugo Weisgall, or whatever it might be.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you think that this is, do you conceive of this — and if so, just I’d like you to talk for a moment about it — do you conceive of this as a part of American culture?  One wedge of the pie.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1186.0,1207.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e Well, I’d like to think of it that way.  I mean, some people might disagree, but I like to think of it as being part of the American culture. I mean, so, certainly, Gershwin is part of the American culture.  I mean, we, we’ve got a lot, a lot — Copland is, and Bernstein, and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1207.0,1226.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And Lukas Foss?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Exactly.  We all belong there.  I think that American music is, to a great extent, Jewish music.\u003cbr\u003e\u003cbr\u003eLEVIN:  How?  How so?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, by, by just naming these, these wonderful composers that made history.\u003cbr\u003e\u003cbr\u003eLEVIN:  Also, I suppose, because America is… a sub - is a composite of ethnic cultures, anyway.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1226.0,1257.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  It, it is, absolutely.  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Of which Jews are one.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Mm-hmm.  I mean, there’s a definite Jewish quality in the music of Leonard Bernstein.  Not so much in Copland, maybe. Except in a few pieces.\u003cbr\u003e\u003cbr\u003eLEVIN:  And also American.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1257.0,1277.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  In both cases.\u003cbr\u003e\u003cbr\u003eFOSS:  Exactly.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now, you came here in, you were what?  About ten years old?\u003cbr\u003e\u003cbr\u003e\tFOSS:  In 1937.  I was 15.\u003cbr\u003e\u003cbr\u003eLEVIN:  Fifteen.\u003cbr\u003e\u003cbr\u003eFOSS:  I came to Paris age 11, and to America age 15.\u003cbr\u003e\u003cbr\u003eLEVIN:  You were born in Berlin?\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  Not far from where the Wall was.  Very close.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1277.0,1297.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Absolutely.  I’ve been looking for my birthplace.  I can’t find it, because it’s…\u003cbr\u003e\u003cbr\u003eLEVIN:  Not now.\u003cbr\u003e\u003cbr\u003eFOSS:  It was probably buried by the Wall.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s right.\u003cbr\u003e\u003cbr\u003eFOSS:  And, after one point, I can’t find it.  But it was [SOUNDS LIKE Lutsaufa].\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  And then, when you came, so, you came here, and you definitely are an American composer.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1297.0,1317.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS: Yes. Absolutely.\u003cbr\u003e\u003cbr\u003eLEVIN: When you came to America…\u003cbr\u003e\u003cbr\u003eFOSS:  I remember when I came back to conduct the Berlin Philharmonic.  I was by that time maybe 22, 23, 24, I’m not sure.  And I was pulled into a room with a lot of cigar-smoking reporters.  And the first question was, “Well, Mr. Foss, how does it feel to be back home?”  My answer was, “Sorry.  I’ll be back home when I return to New York.” They didn’t like that, particularly, but it just came out.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1317.0,1343.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah.  I mean, you’ve been a fixture here — well, I mean, I first came - knew you, your name as, was it Buffalo?\u003cbr\u003e\u003cbr\u003eFOSS:  Buffalo Philharmonic, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  Buffalo Philharmonic.  So, that’s a long time ago.\u003cbr\u003e\u003cbr\u003eFOSS: Mm-hmm.\u003cbr\u003e\u003cbr\u003eLEVIN: And then, when you came to Ravenna Festival.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  The first couple of times.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1343.0,1363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s a while back.\u003cbr\u003e\u003cbr\u003eFOSS:  Quite a while.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, where else did you – so you had Milwaukee?\u003cbr\u003e\u003cbr\u003eFOSS:  Milwaukee Symphony.  Jerusalem Symphony.  Buffalo Philharmonic.  Brooklyn Philharmonic.\u003cbr\u003e\u003cbr\u003eLEVIN:  And, of course, guest conductor everywhere. Tell me about the Jerusalem years.  Now, how did that happen, that an American became conductor of Jerusalem?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1363.0,1383.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yes, I wonder, now.  I’m trying to remember who actually made it happen.  Who brought me to… I was conducting, guest conducting the Israel Philharmonic, and that probably triggered it.\u003cbr\u003e\u003cbr\u003eLEVIN: Yeah. Probably.\u003cbr\u003e\u003cbr\u003eFOSS: That made me visible there, and, and so they asked me if I would be interested.\u003cbr\u003e\u003cbr\u003eLEVIN:  What year, that was in the ‘60s, or…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1383.0,1403.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Early ‘60s, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  So, that was when it was — yeah, now, it’s Jerusalem.  It was Kol Yisrael.  Sponsored by Kol Yisrael.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yeah, it was just four years.  And in those four years, I would travel back and forth between Israel and America.\u003cbr\u003e\u003cbr\u003eLEVIN:  I was going to ask you, how much time did you spend, did you spend in…\u003cbr\u003e\u003cbr\u003e\tFOSS:  Not that much.  But quite a bit of travel, I would say.  At least five trips a year.\u003cbr\u003e\u003cbr\u003eLEVIN:  Uh-huh.  Well, sure.  Because they played, they did a lot.  They did all the recording for the orchestra, for the radio station, too.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1403.0,1425.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah, right.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, played more and more live performances.\u003cbr\u003e\u003cbr\u003e\tFOSS:  And it’s a good orchestra.  I enjoyed it.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, well…\u003cbr\u003e\u003cbr\u003eFOSS:  I still come, I still come back.\u003cbr\u003e\u003cbr\u003eLEVIN: …it would be good to record some of this music right here with them.\u003cbr\u003e\u003cbr\u003eFOSS:  Wonderful.\u003cbr\u003e\u003cbr\u003eLEVIN:  I mean, that would make sense — for you to conduct them.\u003cbr\u003e\u003cbr\u003eFOSS:  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  And if it’s chorus, we could use, but there is no more Rinat Choir, you know.  It’s gone.  It’s finished. But there are other — The Rubin Academy Choir, maybe.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1425.0,1451.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  How are the choruses that Joe Ness works with?\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s amateur chorus.\u003cbr\u003e\u003cbr\u003eFOSS:  That’s amateur.\u003cbr\u003e\u003cbr\u003eLEVIN:  Completely amateur.\u003cbr\u003eFOSS:  I see, okay.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, that’s not good enough for this.\u003cbr\u003e\u003cbr\u003eFOSS:  I see.\u003cbr\u003e\u003cbr\u003eLEVIN:  But in Israel, the Rubin Academy Chorus probably would be good enough.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1451.0,1469.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s probably good.  Together with Jerusalem Symphony, we could do, if something is chorus and orchestra.  But actually, nothing is chorus and orchestra, is it?  No - De Profundis is with orchestra?\u003cbr\u003e\u003cbr\u003e\tFOSS:  That’s just chorus.  A cappella.\u003cbr\u003e\u003cbr\u003eLEVIN:  Just chorus.  It’s a cappella.\u003cbr\u003e\u003cbr\u003eFOSS:  Right.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Psalms is best with, with orchestra.\u003cbr\u003e\u003cbr\u003eLEVIN:  Psalms is the only one.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.  It’s very nice.  But it can, it can also be done with two pianos.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  I thought that Psalms was recorded once.  But no?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1469.0,1492.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah, it was recorded, on an LP.  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, only on an LP.\u003cbr\u003e\u003cbr\u003eFOSS:  I don’t think it’s been re-released.  I don’t think so.  At least, I don’t know of it.  But sometimes, I’m not even aware of things that are re-released.\u003cbr\u003e\u003cbr\u003eLEVIN:  Who did it?  Do you remember who did Psalms?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Yes.  The first performance recorded was Roger Wagner.\u003cbr\u003e\u003cbr\u003eLEVIN:  Uh-huh. That was pretty good.\u003cbr\u003e\tFOSS:  That was with two pianos.  And then I did the next one with the Milwaukee Symphony with orchestra.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1492.0,1514.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Uh-huh.\u003cbr\u003e\u003cbr\u003e\tFOSS:  That should be re-released.  That was such a good performance.\u003cbr\u003e\u003cbr\u003eLEVIN:  Well, we’ll see.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Because Song of Songs is re-released, now.  You know that.  On CD.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, that, I heard something.\u003cbr\u003e\u003cbr\u003eFOSS:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003e\tFOSS:  Beautiful, beautiful recording of Bernstein conducting three of my works.\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s on the, that’s on — I just heard a clarinet concerto of yours…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1514.0,1535.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"FOSS:  Yeah.  With Stoltzman.\u003cbr\u003e\u003cbr\u003eLEVIN:  And Stoltzman does a good job, I think? \u003cbr\u003e\u003cbr\u003eFOSS: Oh, he’s wonderful. We do quite a few concerts together, Stoltzman and I.\u003cbr\u003e\u003cbr\u003eLEVIN: Yeah. If you look at the timeframe for this, for this project, how do you think it will affect the education of music in America?  Do you think it, when you have a, when we have this 50 CDs of the music of American Jews…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1535.0,1559.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eFOSS:\u003c/strong\u003e I think it will certainly affect the education of, in quite a few schools, where they take that sort of thing seriously. I think so, I think so too… it all has of course to do these days with public relations, to what extent it’s marketed, to what extent it becomes famous. But it should have an impact, I’m sure.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1559.0,1580.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: Is there anything you would like to say about your pieces?\u003cbr\u003e\u003cbr\u003eFOSS:  No, I think that we’ve covered it all.  I, I’m better at speaking about Bach, Mozart and Beethoven than I am about Foss.  It’s always more a bit difficult to speak about yourself.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1580.0,1600.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But there’s something about — I mean, yeah, there are different views, I mean, about conducting your own pieces.  There are some people who say they’d rather have someone conduct their own, his piece, too.  How do you feel about that?\u003cbr\u003e\u003cbr\u003e\tFOSS:  Well, I love others to premiere my pieces, and then I do myself - I give myself a second performance.\u003cbr\u003e\u003cbr\u003eLEVIN: Very good.  That’s very clever.\u003cbr\u003e\u003cbr\u003e\tFOSS:  I like it when people — like, Zubin Mehta did the premiere of my third symphony.  And then, I did it, later on, in Europe and different places.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1600.0,1631.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Is there anything else you’d like to discuss or say about this project?  Either about your own music, or other people’s music in it, or anything?\u003cbr\u003e\u003cbr\u003eFOSS:  I think, at the moment, I can’t think of anything.  But I think we covered a lot of ground.\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.\u003cbr\u003e\u003cbr\u003eFOSS:  I hope that you are satisfied with what we’ve…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1631.0,1651.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933/transcript/25002/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Sure.\u003cbr\u003e\u003cbr\u003eFOSS: …done.\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.  Thanks so much.\u003cbr\u003e\u003cbr\u003eFOSS:  Well, it’s been wonderful to…\u003cbr\u003e\u003cbr\u003eLEVIN:  Sure.\u003cbr\u003e\u003cbr\u003eFOSS: …collaborate with you.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.\u003cbr\u003e\u003cbr\u003eFOSS:  And we’ll continue this collaboration.\u003cbr\u003e\u003cbr\u003eLEVIN: Absolutely.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40269/file/111933#t=1651.0,1670.08"}]}]}]}