Matt Mendez: Writing about music doesn’t strike me as the sort of vocation one plans to pursue, in and of itself. The most common scenario seems to be falling into it by accident, and discovering along the way that one actually has an affinity for this odd, difficult, arcane art of using words to describe sounds. How did you first begin?
Paul Griffiths: I distrust autobiography, but here’s an anecdote. As a student, I was a member of the Oxford University Contemporary Music Society, which put on concerts with some very fine performers. I still remember the first time I heard the Berg Piano Sonata (1908) (which was then as new as Boulez’s Le Marteau sans maître is now), played by Julian Jacobson. At another of the Society’s concerts, it turned out that I was the only person in the audience who didn’t have a piece on the program, so I had to write the review for the student newspaper. That was the start.