Why write for the orchestra? For one thing it's a very challenging problem.

Silences between movements are employed only in order to bring the opposing duo to the fore.

That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.

Why write for the orchestra? For one thing it's a very challenging problem.

Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.

When I was in Paris, all of the German refugees began to flow in and it was a very sad time.

Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.