I first met Betsy Jolas, a distinguished composer with a nearly 70-year career, in 2005. I had received a scholarship to attend the Academie Villecroze in Provence, France, and performed a piece of hers there. The work was “Mon Ami,” for a pianist; it’s unique in that the pianist sings, her voice melding with the sound of the piano.
In October, I contacted Jolas to ask her for an interview. I wasn’t sure if she would remember me, but Jolas—who will turn 90 in August—remarked that she recalled my playing of “Mon Ami” and would be happy to talk. I reached her at home in Paris to ask her about what’s changed in contemporary music since she started, how her music frustrates PhD students, and why she’s still not resting on her laurels.
Stay Worried
An interview with Betsy Jolas
