Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.

Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.

With the classical stuff, I've always been better at the big brushstrokes and broad textures than spending ages honing a chord, or tweaking a sample.

I'm less interested in uniqueness than in goodness. I see so many concerts where the program notes are more interesting than the music. I remember talking to one composer who went through the most complicated mathematical algorithm to generate some material from scratch. It took weeks and weeks, and he came up with a C major chord. For me, honesty is more interesting than originality.

There's something strange about a laptop, how you can make the tiniest gesture and make the biggest sound. I don't feel I've resolved working a sense of performance into a piece yet.

Quite often, when I describe to people what I want, I'll say "overwhelming" - I want it to feel like it's phy

Other friends have said, "I don't understand why you've used this trumpet-style sound rather than a real one when you know you can write for trumpet." But it's most important to get the energy right.