“The way of Boulez is to take two weeks (for example) and think about one or
two notes of the viola part in a large score, to make sure they are exactly the
notes he wanted (where and how placed in the score) down to the last detail of
how it is to be played.’’ says Bruno Maderna in conversation with Rocco Di
Pietro. “If this is true, it is amazing how prolific he has been. Perhaps
the confusion has something to do with artists like Picasso or Stockhausen, who
so rapidly create such an enormous quantity of new and varied work. That
approach perpetuates the myth that the artist must be a producer of constantly
new and dazzling works and that anything less is indicative of creative
decline” -reflects Rocco di Pietro.

Dialogues with Boulez / Rocco Di Pietro, The Scarecrow Press, Inc.
Lanham, Maryland, and London 2001, p.2

Monoprints by Su Ai from the collection of study for Victoria Amazonica, 2019