From a conversation with Bob Gilmore and Elisabeth Smalt, November 1, 2014


Bob Gilmore: OK so this is an interview with Bob Gilmore [everyone laughs] Should I say it all again [laughs]
Elisabeth Smalt: First, Terri says the title and then you said,
Terri Hron: No no no, we don’t have to go through all of that. I’ll explain later. [laughs] But, you were talking about… defining the word collaboration,
BG: yes
TH: because you felt… Lemme, let me paraphrase until
TH: where you got to,
BG: yeah
TH: and then you can go from there…
BG: yeah, fine fine
TH: how about that,
BG: yes good
TH: mmm so…The nineteenth-century model of sending the score to someone
BG: mm-hmm
TH: and then having a deep heart to heart… about what is about to happen,
BG: mm-hmm
TH: which is the transmission
BG: mm-hmm
TH: of that piece from one brain to another
BG: mm-hmm
TH: and also, the incredible investment that a performer goes through to learn a score,
BG: yeah,
TH: the time that they spend in order to learn the score which is, you know… considerable, possibly longer than it took for to write the piece, which is really cool.
BG: yeah,
TH: And I don’t take that commitment lightly…
BG: No indeed.
ES: No.
TH: So, going from that model, that just acknowledges that there is a composer and that there is a performer and at some point there was a cross-over in which some important information was… exchanged
BG: mm-hmm
TH: That that’s not, the kind of collaboration that we’re talking about
BG: Right