An interview conducted by Bruce Duffie in Chicago in November, 1992. Award winning broadcaster Bruce Duffie was with WNIB, Classical 97 in Chicago from 1975 until its final moment as a classical station in February of 2001. His interviews have also appeared in various magazines and journals since 1980, and he now continues his broadcast series on WNUR-FM.
This interview with William Bolcom, which took place on June 29,1986, also included the participation of his wife, mezzo-soprano Joan Morris. Bruce Duffie says: "As with some other musical couples that I’ve interviewed, on occasion they both responded to my questions together back and forth, and I was perceptive enough not to interrupt!"
Interview June 10, 2014 - Bill discusses the creative or compositional process from beginning to end with a few stories in between! He also mentions current and upcoming projects including the Grant Park Festival.
by Georgia Rowe, San Francisco Classical Voice November 17, 2009
William Bolcom has always made his own way. Throughout his career, which has produced symphonies, operas, chamber pieces, and piano and vocal works, the Seattle-born, Michigan-based composer has often rejected the prevailing notions of what “serious” music should include.
He was among the first to revive the piano rag form, and with his wife, mezzo-soprano Joan Morris, has explored the American song repertoire in concert and recordings for over 35 years. Bolcom, who won multiple Grammy Awards for his setting of William Blake’s “Songs of Innocence and of Experience,” was awarded the Pulitzer Prize in 1988 for Twelve New Études for piano. At 71, he continues to compose. This week, the New Century Chamber Orchestra will perform his Three Rags and Serenata Notturna. Later this season, the ensemble will premiere his newest work, Romanza. I spoke to him by phone in Ann Arbor, Michigan.
An interview by Terrence McNally December 21, 2002
WB They’re two things happened that might have happened on the same day. I get a call from Ardis. She said that Bruno has just come back Italy and she said, “Well now Bruno said, ‘Why doesn’t Bill do, what you call it in English, Uno Squardo dal Ponte?’” -- View from the Bridge in Italian. And I get a call from Arnold, Arnold Weinstein. Now often, it seems to happen a couple of times a year people have decided on their own recognizance to make an opera out of Death of a Salesman or All My Sons, or one of the other major plays. And they will send whatever music is already done to Arnold and Arthur.