Abstract
These interviews took place in the early 1990s. Much of what Rosen and Temerson discuss is of its time, both with respect to the development of Rosen’s views on the function of analysis, the nature of performing at the piano, and the history of musical style, and with respect to the mainstream musicological world, which in 1993 (the first French edition) was undergoing a paradigm shift in how it should act and what it should produce. To read the book in 2016 (the second edition used for this translation), and even more so to read this in English in 2020 is to return to transatlantic debates that moved on some time ago, and in relation to which Rosen himself, notwithstanding his influential voice and plethora of opinions, occupied a somewhat marginal position. After all, in his mind he was first and foremost a concert pianist, as the discography at the...
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