People like Arvo Part would not have been taken seriously 20 years ago.

When Philip Glass asked me if I would be interested in doing a new recording of Jesus' Blood he assumed that I would do something similar to the first version and wanted to know what other pieces would be on the same CD.

Over the years I have tried to develop something which is technically assured.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.

The virtuoso element in jazz playing, all those very fast runs in the upper extremes, simply doesn't appeal to me. That's why I don't want to make my concerto "virtuosic" in the sense of a technical show-off. I want a beautiful sound and a melodic and lyrical line. I am more interested in the way someone can play musically.

Similarly you can make a transition from one set of instruments to another imperceptibly.