The Art of Proof-Playing

One of the amazing works that you do, and I think because of the work in unique, uh, work that you do, so you have the privilege of being able to work with composers directly, not just by commissioning, but also maybe you may have a say into specific composition. Let's say there's a piano commission, you can say, oh, this just pianistically doesn't make sense. So why don't we— do you work that way with composers?

Yes, yes. I always did, and I even offered this proofplaying service to composers that I put online because I still think, and I'm really convinced, that it's always better to have somebody neutral You see, the problem is that with composers with whom I'm friends with, I am no more neutral, you see. I mean, certainly, of course, we work together. But, you know, when you have somebody whom you don't know and not even played one piece, it's a totally fresh view. And I think that it always helps to have somebody else just play through it. I mean, this is really all it takes, is just play through and you have already your first impression. So I really like doing that. And I have several composers with whom I work this way. And I mean, I always got really, really good feedback for offering my advice.

That's cool. So that's called proof playing.